Lou Lumenick

This movie sends you into the night thinking, maybe even a little afraid. Bravo, Mr. Fincher.

Dazzles the eye, numbs the mind and may cause deafness in some cases. Did I mention to bring along some Excedrin?

Not many people are making silent horror serials these days, but Canadian filmmaker Guy Maddin pushes his love of lurid melodrama to the limit in his latest demented treat, Brand Upon the Brain!

This eye-popping, inspired and often-demented (in a good way) cross between "The Red Shoes" and "All About Eve" channels horror maestros David Cronenberg, Brian De Palma and Dario Argento.

Genuinely scary, exquisitely shot -- and very well-acted.

The film also drags a bit toward the end, but neither of these is a major flaw in a movie with more funny lines than in most of Allen’s movies these days — not to mention a saner, clearer moral perspective.

t's an exciting, well-directed thriller that, while providing more than enough action and gore to satisfy genre fans, also offers the political commentary that has characterized zombie movies going back at least as far as "Night of the Living Dead."

A rare case of an American remake that actually improves on a European movie.

Includes insightful and often hilarious archival interviews with Langlois and dozens of associates, as well as wonderful footage of Langlois.

Anderson, in her first major non-Scully film role, is lethally miscast.

Julie Andrews, Dick Van Dyke and a host of other notables sing the praises of the estranged siblings, whose work is illustrated by copious film clips.

Taylor also makes an impressive comeback as the conflicted daughter who instinctively distrusts Heather, but Starting Out in the Evening is first and foremost a triumph by Frank Langella.

An intelligent, extremely well-acted thriller about a mother's endless love for her son.

A tad slow by American standards, but so extremely well-acted and emotionally truthful, it's right up there with "In the Mood for Love" as prime romantic fare for the Valentine's Day weekend.

Blue Jasmine may sound like a topical satire, but it isn’t really. It’s a character study of an obnoxious, selfish and supremely self-absorbed woman oblivious to the pain she inflicts on others.

Needs less talk, more music.

Demonstrates that sometimes letting subjects and the facts speak for themselves can be quietly devastating.

Essentially a weird series of nonsequiturs. I'd rather be watching a sequel to the much-maligned "Little Nicky" -- a Sandler film that was at least trying to do something interesting -- than this failed experiment in fusing high and low culture.

After a promising start, writer-director Daniel M. Cohen pours on schmaltz straight out of the similarly themed "Diamonds," including the proverbial hookers -- with hearts of gold.

After the Wedding is full of enough plot twists to supply a whole season of "Desperate Housewives."

Christopher Nolan's dramatically and emotionally satisfying wrap-up to the Dark Knight trilogy adroitly avoids clichés and gleefully subverts your expectations at every turn.

Variously been described as a thriller, a muckraking exposé and even a satire -- and its refusal to fit neatly into a genre is only part of why it's so utterly disturbing.

Less grim than it sounds, Southern Comfort ends on a note of triumph for its endearing, gender-bending hero.

It may take a scorecard to keep track of the complicated relationships in this sorry clan.

This remarkable new documentary from Raymond De Felitta ("City Island") fruitfully revisits the aftermath of a TV doc that his father, Frank, produced for NBC in 1965.

The year’s best film so far.

A surprisingly unengaging and charmless fantasy from a director whose previous films ("Across the Universe," "Titus," "Frida") were, despite their other issues, never boring.

I was laughing so hard, tears were streaming down my cheeks.