Marrit Ingman

The film’s simplest pleasure is its naturalism – the illusion it creates of observing the animals undetected.

The quest for sexual happiness is a radical notion in these repressive times, as well as a legitimate basis for storytelling, but Shortbus doesn't quite delve as deeply as it ought into its characters' emotions.

A compelling small-scale drama, and Lapica is a talent to watch.

A playground for Malkovich – enjoyable enough but not terribly deep.

An intriguing export with crossover appeal.

The film veers toward sheer silliness at times, losing the sweetness that defines its strongest moments.

A good bet for family viewing. It's got a charming, simple plot, a smart Alan Menken score, and enough subversive humor to wring a chuckle or two out of Mom and Dad.

If the sensitive coming-of-age love story is a well-worn tradition in gay cinema, Come Undone is at the very least a superior example of it.

While viewers who expect a conventional suspense film may be disappointed in Lantana overall, it does succeed on a smaller, more intimate scale.

Yaar has enough heart to redeem its cruder moments, and it turns out to be quite a little charmer.

When it's on, it's really, really on. But when it's not, it feels like it's struggling to find its style, just as Jerome is.

This moody Hong Kong thriller puts a stylish new spin on the old "Hands of Orlac" horror motif.

She's funny, she's feisty, she's a flabulous, fat-positive “fag hag,” and Margaret Cho isn't apologizing for any of it.

A sterling example of what Hollywood can accomplish when it puts its trust into an offbeat project whose creative team has a different perspective on American life.

Surprisingly fresh and charming overall.

It manages to be a watchable, even enjoyable movie about and for girls, and in our world of candy-coated sparkly pink c---, that's a rare and commendable thing.

It's the most honest, refreshing comedy about love – gay, straight, or both – I've seen in many moons, and at the end everyone's problems are solved by a country-western dance battle with drag doyenne Jackie Beat on the mic.

A couple of the cinemaniacs are less defined than others, but the portrait that emerges is a detailed composite of life on the fringe.

Ultimately the film manages a warm, offbeat appeal despite its flaws, and it has real heart.

Worth a look.

Never really quite great, it's still a good enough diversion for the family and should please adult fans of racing.

Bluegrass fans should have few complaints about this stellar concert film.

It starts off with a slick split-screen bang, but this high tech heist thriller is like a For Dummies guide to the genre.

On the plus side, Costanzo is an appealing and likable young actor who carries the film easily; he gives the impression that he is thinking deeply and mildly amused.

The elliptical narrative also recalls Fernando Meirelles' somewhat similarly themed "The Constant Gardener," a film ultimately more heartfelt and accessible to mainstream audiences because its maker is unafraid of grief and explores it more deeply.

This is a film strictly for hardcore sentimentalists, despite its straight-ahead depiction of the harsh urban landscape in contemporary China.

It works best as a spank-it movie you don’t have to feel guilty about and that you can dance to. And there’s nothing wrong with that.

Yet as wonderful as it is to see a breezy, earnest romantic comedy that is so matter-of-factly gay-themed, Big Eden suffers somewhat, unsurprisingly, from some of the usual perils of a breezy, earnest romantic comedy.