V.A. Musetto

Politics aside, Trudell plays like an infomercial for its subject rather than a serious examination of the man and his beliefs.

If you go to the movies to ogle topless young women, Simon is definitely for you. If, on the other hand, you want something more cerebral with your $10 ticket and overpriced snacks, stay clear of this Dutch melodrama.

The surreal images lack narration and talking heads, which is no problem. In fact, the device makes the shocking footage more compelling.

The bureaucrats in Beijing want to get rid of the sex and full-frontial nudity and scenes of cops beating protesters in Tiananmen Square. I would keep all that but cut out some of the flab in the second half of the 140-minute drama.

First-time director Jeff Malmberg tells Hogancamp's fascinating story with sensitivity, never resorting to exploitation.

You want to hate his characters? Go ahead. You want to feel sympathy for them? That's OK too. In either case, you'll be shaken by Drama/Mex.

By far the film's most interesting subject is the king's eldest daughter, 18-year-old Princess Sikhanyiso, who likes to be known as Pashu. She's a self-styled rapper who goes to a Catholic college in California and acts like the spoiled rich kid that she is.

The film is loving but shallow.

As we learn, delightfully so, in Jeffrey Fox Jacobs' documentary A Sidewalk Astronomer, the Peking-born Dobson promotes the building and use of small, inexpensive telescopes to study the wonders of the sky.

The camp runs for a week in a warehouse in Oregon. What the girls might lack in musical talent and experience they make up for with infectious energy. Watch your tattooed butt, Amy Winehouse!

At nearly two hours, Big Man Japan is clever (in a sick sort of way) but overlong. It needs judicious editing -- more mockumentary, fewer superhero antics.

What's Vincent to do? Will he come out of the closet? Will he lead the swim team to victory at the big match? Will he find happiness with Noemie? Does anybody care?

One big cliche.

Mendoza gives a heart-tugging performance as Mariana.

Starts as a serious examination of the two women's lives, but it descends into a mushy melodrama complete with schmaltzy music and dewy cinematography.

The Pianist recalls "Schindler's List," even down to its weakness: Just as Spielberg's film turned sentimental in its final half hour, Polanski's work, too, has a schmaltz coda. But that doesn't make The Pianist any less effective.

Funny is not a word often used to describe von Trier's output, but "Boss" definitely is that, thanks to a breezy script and a bright cast.

Falters when it gets involved with supernatural gobbledygook.

Lilya is portrayed by Oksana Akinshina, who gives a dynamic, heartbreaking performance... She was wonderful in ["Brothers"], but is even more astonishing in Lilya 4-Ever.

Has little to offer beyond titillation and pretty landscapes.

Adams and the school's students and teachers deserve an A-plus, although the film rates a much lower grade. It unfolds lifelessly, as Binzer parades a contingent of talking heads before the camera in what could pass for an infomercial.

Would that somebody had fired Gurwitch before she could have finished Fired!

Exploitation pure and simple. But it's artistically redeeming exploitation. If you can handle it, see it.

The result is an immensely enjoyable portrait of a strange-looking, non-comforming genius who loved women as much as designing masterpieces but was never able to commit to them. In other words: great architect, lousy family man.

In an effective touch, Kisses opens in black and white, changes into color for its Dublin scenes, then returns to monochrome.

The real star of The Son isn't lead actor Olivier Gourmet. It's the back of his neck, which the camera obsessively focuses on throughout this difficult but rewarding Belgian drama.

The three are appealing characters, and you can't help but root for them in their quest, which gives a whole new meaning to the term "family values."

Movies don't come any more charming than Mongolian Ping Pong.