Ruthe Stein

Viewers will be swept away by the beauty of individual moments and by Ivan Barnev's extraordinary performance.

Funny, original, occasionally poignant and almost all of it too dirty to repeat in a newspaper.

Compelling and deeply disturbing.

Still feels stagebound, inert when it needs to be cinematic.

This movie borders on the ridiculous, but is pulled back by an aesthetic portrayal of the supernatural and by its stars.

Considering the talent on both sides of the camera and a story that worked beautifully the first time around, Shall We Dance? should have been a lot better than OK.

The problem with this one may be that it just isn't British enough.

A junior version of "Fight Club," only with no movie stars and different moves.

If you can still be entertained by a thriller that unabashedly borrows from others of its ilk and don't mind reading subtitles, you could do worse than District B13. It's over so fast, in a quick 85 minutes, there's scarcely time to get bored by the silly plot.

The ending is predictable to anybody who's followed the trajectory of outsourcing. Outsourced humanizes those affected by it - even if the story sounds familiar.

Becomes tiresome.

Vanessa Redgrave makes a regal if too-brief appearance.

Hanssen is such an enigma that any attempt to explain him has inherent interest. Breach expends too much energy on a minor functionary, but it is still worth seeing for its fleeting looks into a heart of darkness.

Intermittently funny.

Sleuth"is that rare film that would have been better longer. You're not through looking at Caine and Law when the final credits roll.

It's a first feature film for both screenwriter Alex Rose and director Gaby Dellal, and their inexperience shows in Frank's underdeveloped relationships with family and friends and in the movie's sluggish pacing.

With Lloyd Webber onboard not just as composer but also co-screenwriter and producer, the film seemed destined to stay true to its roots rather than attempt to transcend them.

Overly long and not especially enlightening film.

A mishmash of a musical. The movie never gels -- despite Kline's nuanced performance, the stars' exquisite period clothes, designed by Armani, and, of course, Porter's great songs.

A sweet, bordering on saccharine, comedy.

The film is better than it has any right to be, considering the prosaic source.