Marc Mohan

Ultimately, the story can be seen as the collision of two equally uncompromising belief systems, each its own form of fundamentalism. That neither benefits from the encounter should come as no surprise to anyone with the slightest knowledge of human history.

What really separates Zatoichi from a run-of-the-mill action pic is the sense of humor -- and even more than that, the sense of fun -- that Kitano brings to it.

Director Martin Koolhoven doesn't take many narrative chances, but the somber, steely cinematography and convincing performances help to carry the day.

A kid-meets-curmudgeon comedy that transcends its formulaic skeleton thanks both to the veteran actor's charm and a smarter-than-average screenplay.

It's solidly entertaining, with Downey's roguish charm as appealing as ever.

The surprisingly thoughtful third act both introduces complexity to its portrayal of the Afghan people, and subtly reminds us that, despite Luttrell's astonishing constitution and self-surgery skills, as well as the ultimate sacrifices made by his comrades in arms, it was all for naught.

While these interviews are affecting, and the movie talks about suicide in a refreshingly straightforward manner, it's the images of these actual deaths that induce horrified gasps.

More a collection of character vignettes than a full-blown story, Garden Party nonetheless shows as much promise for its makers as it gives to its characters.

A twisty, darkly comic story of greed, betrayal and murderous misunderstandings.

Despite all the camaraderie, natural beauty and exotic weather, though, you couldn't pay me enough to live there, especially not when there's a movie like this to show me what I'm missing.

The performances, especially that of Regina Casé in the lead role, inject potent, lived-in humanity to the movie's flat political allegory.

Most of the time, Goodnight Mommy creates its air of supreme unease quietly, even subtly, but even hardened horror fans might be shocked by some of what goes down in the movie's second half.

The spirits of Huck Finn and Tom Sawyer are alive and well in the Southern-fried coming-of-age tale Mud. It's got all the ingredients.

Ordinary folks working together to triumph over incredible odds, depicted in a Disney film that doesn't overdose on sentiment? That's the real miracle.

A bit too familiar, and at times gentle to a fault.

A fascinating experiment in both filmmaking technology and narrative style, but one that can be counted a success only in limited ways.

In spite of its familiar outlines, director Rob Meyer's first feature benefits from an authentic script and performances.

Frankenweenie seems like a genuine effort to pass along this love to the next generation, and if one kid who sees it goes home and demands to watch another movie featuring a giant turtle, it will have done its job.

Perhaps the most amazing thing about this story is that it would have been lost to history had not American spelunker Chris Nicola happened across mundane relics -- buttons, shoes and the like -- while exploring the cave complex in the 1990s.

When the movie is funny, it’s very funny.

Rather like a four-hour episode of "Today": painless enough, leavening superficiality with substance, allowing you to watch and still do the laundry without missing anything vital.

Bell does a fantastic job of telling a thoroughly feminist story without being strident or didactic.

There have been plenty of mountaineering documentaries over the last few years, and Everest suffers in comparison to them simply by being a dramatization. As realistic as the effects are (and you can occasionally tell when a shot is green-screened), you're still aware on a gut level that Jason Clarke and Josh Brolin were not actually filmed at 29,000 feet above sea level.

Bettie Page Reveals All earns its title from more than the uncensored images it includes.

Director Sini Anderson compiles interviews with Hanna and her husband, Beastie Boy Adam Horovitz, as well as archival footage, into an admiring portrait of a sometimes combative figure.

Parts of “Spark” can seem like an ad for Burning Man, but the film digs deep enough into the pressures and challenges facing its organizers and attendees to be a worthy exploration of a unique phenomenon, even for those who wouldn’t be caught dead wearing just glitter and a thong in 110 degree heat.

The experience of psychological depression has been described with a variety of metaphors. William Styron called it "darkness visible," and Winston Churchill euphemized his bouts as "the black dog." In typically grandiose fashion, though, Lars von Trier tops them all.

Rosemary Clooney (that's Danny Ocean's aunt) steals the show as one half of a sister act accompanying the boys on their yuletide misadventures. The real highlight, of course, is the Irving Berlin score. [24 Dec 2004, p.39]