Lyne's excesses are usually the kind of thing I love to hate, but Unfaithful found me pretty much following along in step with his rhythms and dramatic choices.

The information it presents is eye-opening for medical consumers and health professionals of any stripe. And the film incidentally makes a great case for health care reform.

Disturbing, harrowing, visceral, and even sporadically humorous, Kids is one of those rare films that begs the description “a must-see.” For once, it's the truth.

The film is a startlingly original and haunting take on our ageless fear of otherness.

For each of the film’s visual achievements, there are narrative and developmental issues. As much as Edwards’ world invites us in, we are constantly befuddled by the way his characters move through their environments.

Perhaps the film’s most telling moments, however, are wordless ones in which no actor appears. They’re the bird’s-eye views of American tableaux – suburban tract houses, elementary schools, interstate highways – that mimic similar sky-high perspectives just before a drone fires its missile.

Vanilla and sweet, it's an overly generous helping that, if it doesn't make you sick, will put you in a good humor all day long.

This documentary is as soothing and edifying as watching a video loop of the Yuletide log.

This is entertaining fare that's still potent today in all its pre-censorship seediness.

To be fair, this isn't The Killer. Woo's unique penchant for over-the-top male bonding is basically nowhere to be seen, but then this is, after all, a very American story, despite Woo's name at the top.

Does little to dispel the creeping feeling that Washington’s getting himself in something of a rut.

Poses a problem for reviewers. The entire story hinges on a plot device that occurs roughly midway through the film and alters everything that has come before. To give away this massive, unavoidable spoiler would be disastrous and unforgivable.

Secretary is a testament to the importance of tonality in telling a story.

Good, clean fun, with none of the icky aftertaste so common to “family friendly” ware, Drumline proves irresistible in more ways than one.

"We, the people" have never been big fans of movies about the American Revolutionary War. The Patriot, however, appears to be the movie that will break that historical jinx.

A Perfect Getaway is, in its own delightfully silly and manipulative way, one of the most effective paranoid thrillers of the new millennium. That doesn't make it a great movie by a long shot.

In her first feature, Bleed With Me, director Amelia Moses used vampirism as a tool to explore toxic friendships: in Bloodthirsty, it's clear that the lycanthropic fate that awaits Grey is less than metaphorical.

It’s apparent that the sharp comic forces behind this epic are simply a couple of juvenile men who think it’s hilarious to show a man’s penis on screen just for the sake of itself. But the embarrassing truth is that, well, sometimes it is.

It turns out globalization has its good points after all, and they're sporting Chucks, Kangols, and post-Gomi DIY gear. Spin again.

Ultimately, The Guilty is a worthwhile remake, even if it fails to perfectly calibrate performance and production.

Although flawed in many respects -- it's not as smooth and silky a movie as it could have been -- Don Juan DeMarco nevertheless evokes a romantic mood that tickles and caresses.

An incredibly evocative film and one of the most evocative neo-Westerns of the past decade.

My Cousin Rachel 2017 retreads du Maurier’s luscious mix of Gothic trappings and psychological mystery, but it’s a wan concoction that’s never fully convincing or engaging.

Has very little soul to speak of, but it's got swagger to burn.

Taken on its own fluff piece terms, Piece by Piece is an interesting sprint through three decades of cultural relevance and relatively scandal-free living. If Pharrell’s happy, then it seems we have to be too.

William Shakespeare's Merchant of Venice may help in bringing some of the Bard's language to life, but this rendition is hardly a freshman course.

While Flamin’ Hot might be of questionable truthfulness, Longoria used that history to craft an undeniably charming Mexican American success story. Nyad offers shades of that same charm, but more than a few creative choices get between the film and success.

When all is said and done, director bob Fosse (Cabaret, Lenny, All That Jazz) delivers a sluggish movie that exhibits none of his usual flash and even less psychological drama.