Sean Axmaker

The entire film is shot in split screen. Each of the unnamed characters is photographed separately in their own slice of space, the images sutured together with a purposeful imperfection, with occasional overlap and rare moments of union. It gives them the appearance of dancing around one another, almost touching but never getting past the years of emotional scar tissue, even as they work their way to her hotel room.

A perfectly competent, if undistinguished, action film that smoothes over all the most interesting bumps in the drama.

A family-friendly remake funnier, fresher and more affecting than the flavorless original.

Isn't exactly adult animation but it's more complex and ambiguous than the usual Hollywood live-action blockbuster, and just as splashy.

More clever than smart and isn't always emotionally convincing, but the cast brings a palpable, persuasive awkwardness to the social tensions of this not-so-romantic getaway, and there's a sly wit to the way the filmmakers mix and match and upend genres.

The restraint so magnificently applied in "The Remains of the Day" has simply fallen into disconnection.

The skewering of spiritualism, dogma and passive-aggressive prayer groups has an exaggerated absurdity that borders on cartoonish and Dannelly's satire is more clever than cutting.

More silly than funny.

True to the characters and their conflicts, the resolution is neither neat nor expected. True to Demme, it's honest and generous and very human.

Ozon's greatest special effect is holding the camera in tight on the faces of Bruni-Tedeschi (one of the most expressive faces in French cinema) and Freiss.

Full of compassion and good intentions, but Kirkman never spins the stories into compelling cinema.

Loses focus of whom the film is honoring.

A potentially interesting idea deflated by the absurd proclamations of an arch screenplay and smothered under the ponderous gravity of M. Night Shyamalan's dreary direction.

Ararat is less about history than the necessity of dialogue and debate, and the devastating effects of stifling dialogue.

It never achieves the bleak poetry and tawdry tragedy of the best examples of the genre, but the understated humor is nicely played by Cusack and Thornton.

The gags hit more than they miss, and Stiller has moments of inspired absurdity, but he's capable of something more cutting and clever. It's junk food moviemaking: fun to snack on, but hardly a substantial meal.

Too bad Igor didn't jolt the film to life with his Frankenstein shenanigans.

Deyfus' haphazard filmmaking dissipates a potentially fascinating mystery into one long diversion.

Cute and often clever, there's nothing particularly memorable in this computer enhanced rerun, but this harmless little comedy has an unexpected warmth that melts the frozen plot.

Though it's hardly as uplifting or inspiring, it's hard not to appreciate these driven men who know they've found their calling when they start to anagram in their dreams.

A thoughtful and often evocative drama of identity and assimilation, but she leaves Nazneen so cocooned in her protective shell of disconnection that we can't connect emotionally.

Has the modesty of a savvy, smart drive-in movie with Hollywood studio polish and a movie buff's loving care.

There's not a lot of story here and the dialogue lacks the snap one usually gets in New York stories of affluent young adults, but the characters have an authenticity.

Pfeiffer devours every one of her scenes with a ferocious performance.

The total effect is mesmerizing, an eye-opening tour of modern Beijing culture in a journey of rebellion, retreat into oblivion and return.

This restrained drama of lifelong friends drifting in separate directions is a quietly rich and resonant portrait of disconnection.

Rambling and easygoing, Nico and Dani is a modest but frank look at adolescent lust, both heterosexual and homosexual.

The film shoehorns in every memorable character from the original film.