Peter Brunette

Temple's wonderfully entertaining film brings the era back in all its confused and tentatively revolutionary glory, and bracingly demonstrates that the Pistols still have the power to shock.

With Before Night Falls, Schnabel has moved to an entirely new plane of cinematic achievement.

One of the most troubling views of the human race I've seen in years. Luckily for us, its depressing, almost pathologically ironic vision is redeemed by the sublimity of Solondz' filmmaking. I first saw the film at Cannes last May and it's haunted me, both for its nastiness and its brilliance, ever since.

As the late Stanley Kubrick's swansong, it fills the bill magnificently.

We've seen the clash of cultures and generations before,--- but never quite so humorously. This time, the focus is on the Pakistanis living in England, and it's quite amazingly done, perky and inventive to the core.

What's best about the film is not the hot romance, but the coldness that lies at its heart.

It simultaneously wows you with the stark beauty of its images, a beauty that leads to another, related kind of truth that is equally crucial. It's not to be missed.

One of the best pictures I've seen all year. Funny, touching, even inspiring at times.

What makes the film so special is that while tickling your postmodern funnybone, it never forgets to make you care for its characters, in a welcome, and almost traditional way.

Irrespective of whether Pollock, as a movie, is any good -- and it is very, very good -- it's clear that Ed Harris was born to play the lead role.

Stoppard's luxuriant, richly comic language cascades and washes over you, and, for once, more than keeps pace with the sprightly pictures.

A lovely piece of work.

It's a superb example of the genre of the self-expressive documentary.

Funny and wise, lively and contemplative, intriguingly postmodern and powerfully moving, all at the same time. It's not to be missed.

Hilarious, slightly sick, and super-edgy ...the acting of its two principals, Annette Bening and Kevin Spacey, is so sublime that it's worth seeing on that grounds alone.

A rich and challenging variation on the serial-killer genre.

A delight to the eye, ear, and mind

A strange and lovely combination of cinematic nostalgia and offbeat (gay) love story.

Not a film for everyone. And though I deeply admire it, it's not a film that even I want to see again in the immediate future.

The fact that this film, so sensitive to woman's plight, was made by a man is perhaps cause for a little hope.

It's a masterpiece, a sublime tone poem that shows what cinema is capable of when it tries to do more than just tell a story.

We marvel at the almost perfect realization of a character whom we're not necessarily meant to like.

Sure, the territory is not exactly fresh...but the chemistry between the two leads is so explosive yet assured, and the comic timing so perfect, that the cliches are given new life.

The titillating sense of out-of-controlness provoked by the camera is echoed in the film's narrative situations, and you simply, and deliciously, haven't a clue as to what he's going to throw at you next.

It makes us realize, suddenly, and with immense regret, what the rest of contemporary cinema so sorely lacks.

Harron's adaptation of Ellis's novel is brilliant, probably better than the book itself.

Little Voice is that rarity, a filmed adaptation of a stage play that actually works.

It's an Egoyan film, and therefore by definition worth seeing.