Walter Addiego

The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.

This documentary has no bells and whistles; Bill Haney, the director and co-writer (with Peter Rhodes), sticks to the facts.

Stagecoach both revived and elevated the Western.

The idea is intriguing - an inflatable sex doll comes alive and experiences the world with wide-eyed innocence - but Hirokazu Kore-eda's "Air Doll" is only partly successful. The film's poignant depiction of human loneliness is undercut by saccharine notes and a drifting tone.

These pictures need a light touch and a lot of attitude, but this time you can hear heavy breathing in the background.

Hawke has created a standard-issue, Sundance-friendly indie film that's full of the predictable angst suffered by Manhattan artistic types, but unfortunately the lead characters are both so callow that you finally don't care much about them.

Aimed directly at your inner 8-year-old, and it strikes home.

It's an impressive achievement: The film reveals things about each person's inner world, and how it looks to the other, without making us feel as if we're lost in a house of mirrors.

It's tear-jerker material but ends up being quite touching, and it's a good choice for family viewing.

Congratulations to director Mick Jackson and writers Jerome Armstrong and Billy Ray for liberating themselves from the tedious demands of believability.

The film's simplicity and intensity are aided by the crisp black-and-white photography of Tariel Meliava. Director Babluani's greenness shows itself in the ending, which is weak, but the film nevertheless stays with you.

It's an apocalyptic ghost story with some eerie images and a surprising turn toward the end, but it bogs down considerably between the good scenes.

Somehow, the funny stuff gets sucked into a kind of black hole in the center of the satire, along with all the comic debris. What should have been a surreal flight to the planet Lucas crumbles into a harmless collection of cosmic dustballs. [24 Jun 1987, p.52]

Some scenes are mild fun, but the mishaps that befall our hero aren't especially inventive, and although the South African setting provides a bit of interest, it's never really used incisively.

This affecting documentary focuses on their 2004 production, a play whose themes of forgiveness and redemption certainly ought to have some resonance for the inmates.

This is contemplative moviemaking, with its deliberate pace, often static scenes and emphasis on direct sound. The director keeps the dialogue pared to the bone.

This easygoing movie fully captures the couple's charm and offers a unique look at the '60s and '70s New York art scene.

A moving but flawed premiere feature.

Grumpier Old Men certainly isn't relying on its mawkish and hokey story to put warm bodies in the seats. There's no reason to see the picture - a sequel to their 1993 hit, “Grumpy Old Men" - other than to relish the talents of these two veterans, plus Sophia Loren, a newcomer to the series.

The stuntwomen are also subject to the unbreakable law of Hollywood, that the advantage is always to the young and beautiful.

A well-made culture-shock documentary.

Ineptly written and shot like a fashion mag, rings hollow throughout. It's a long, long way from "Jules and Jim."

An edifying and forthright drama that aims to create a lump in the throat, and succeeds.

Funny enough that it could make buddy pictures respectable again.

The jokes run hot, cold and tepid.

Never gets the mixture right, lurching between bullet-happy shootouts and overwrought domestic content.

A potent drama from Yang Li, one of China's Sixth Generation filmmakers noted for the stark realism and documentary feeling of their work.

Will probably pass muster with very young viewers, but their parents may grit their teeth at its saccharine quality.