Paula Nechak

A genre-twisting surprise.

The most fascinating aspect of the film is how the point of view shifts -- each character, as seen through another's eyes, is something else entirely.

If ever a film seemed poised to take over the spot occupied by the surprise indie hit, "My Big Fat Greek Wedding," it's Real Women Have Curves.

The film dwells more on the sensationalistic aspects than the sport itself but it's impossible to deny the tawdry entertainment value in this compelling film tabloid.

There is a ton of psychology and inference in this intriguing first feature by French director Anne-Sophie Birot.

The film is so well acted -- by Byrne, who makes Harry's internalized agonies and continuously carried torch for his ex-wife touching, and by Watson and Hoult -- that its more cloying moments, including a staged version of the musical "Camelot" (which is too long), are a moot point.

Exquisite and fragile in visuals and tone, yet has some difficulty with a choppy narrative.

Difficult to weigh and rate precisely because it deals with real life and real people.

Works well as a metaphor for a more innocent time.

A harrowing, frustrating view of paranoia and ineptitude that may seem a case of being in the wrong place at the wrong time but evolves more into a mystery.

Jordan unites his favorite actors -- Liam Neeson, Stephen Rea, Ian Hart and Brendan Gleeson -- with the swoony presence of the talented 29-year-old Cillian Murphy.

Lacks the cohesive flow of "Fantasia" and suffers from an attention deficit that seems to mark and flaw our current fast-paced technological era.

A delight and a surprise.

An edgy comedy with heart.

It's a taut, unexpected study that asks many questions about retribution and redemption.

Witherspoon is terrific.

The director's tenacity has resulted in a breathtaking as well as heartbreaking adventure of life and death.

Its only constant is that it's strangely eloquent and quite original.

Because the subjects are all mellowing into grandparenthood and their abrasive, wilder days are behind them, this particular "scrapbook" isn't as heavy hitting and hard-edged as its predecessors.

Though Signs & Wonders loses its bubbles and runs flat in its anticlimactic final moments, it's far more inventive and demanding than any movie of recent memory.

Pape Sidy Niang is terrific as the cop, Z, who is viewing America through a new immigrant's eyes.

A frothy and deliriously enjoyable souffle.

Gorgeous re-creation of another time.

An enigmatic but gorgeous film.

What emerges is a funny and sometimes aching movie that treads familiar dysfunctional family turf but still manages to eke out an emotionally toned balance.

(Fiennes's) Onegin is clueless to anything other than the sensual world, and is finally more repellent than sympathetic.

Allen has avoided his usual stable of jokes and one-liners, and the result is a film that feels and looks fresh from the maestro of urban angst.

The film is not without its flaws, but it sports a terrific production design that integrates magically into the story -- as well as another top-notch performance by Anthony LaPaglia.