Shanghai Triad doesn't feel up to Zhang's usual standards.

For all its unwieldy temporal scope and narrowness of perspective, Nixon is an amazingly graceful beast, flawed yet invigorating, packed with enough material that will fascinate and irk moviegoers of all stripes for quite a time to come.

One of the most intelligent crime-thrillers to come along in years.

With its fine performances, gorgeous sets, incredible special effects, imaginative story line, beautiful score (by frequent David Lynch collaborator Angelo Badalamenti), and knockout cinematography, The City of Lost Children is very much worth seeing.

While it can’t hold a candle to Wilder’s film, the updated Sabrina has its moments.

An absorbing, delightful, and nuanced movie with laugh-out-loud humor, and though it often plays events broadly where you might have preferred subtlety, it's not a movie that could have settled for muffled silence.

The movie features a very cool soundtrack and more hip lingo than two ears can absorb. But, like the air in Denver, this movie is spread awfully thin.

Despite its authentic feel for things Western, Wild Bill misses the big picture.

Audacious, thrilling, erotic (and in three languages, no less), I Am Cuba is a lost masterpiece of filmmaking finally seeing the light of day 30 years after its production.

Carrey is in top form here, giving a wildly confident, physically draining performance with all the stops pulled out.

Mighty Aphrodite may take its thematic and structural cues from Greek tragedy, but it's second-rate Borscht Belt all the way.

Overall, the movie stresses the more painful and awkward moments; moments that might be classified as "heartwarming" are rare. This results in a very cynical tone and I suspect that was not the desired effect.

Very slick and extremely silly, not to mention aptly titled, Fair Game is just that - a noisy actioner so inanely scripted, acted, and directed that it practically begs you to make fun of it.

The story excels in its portrait of obsessive love and desire. Where the tale falls down is in its portrait of two comrades in poetry, the writers who inspired each other to new levels of artistry and dwelled with the muses wherever they cohabited.

An amazing, bracing, funny, audacious, tender, and sobering piece of filmmaking. Few movies have ever dared to be this remorseless in their portraits of addiction.

It's an occasionally entertaining ride, although one fraught with numerous logical holes.

Neither all that scary nor all that hilarious, Vampire in Brooklyn falls directly between the two, into the valley of mediocrity.

More than any other filmmaker making movies about the new “kids” generation, it seems to me that Araki -- with both Doom and Totally F***ked Up -- has his finger tuned most acutely to the human pulse and not just the lens shutter.

The film is wickedly hilarious but more in a droll and knowing kind of sense than a har-de-har-har manner.

While Smith's testosterone-loaded humor is a taste I have yet to acquire, his choices of a comic book-inspired credit sequence, the guest appearance of Marvel Comics genius Stan Lee, and the film's overall superhero aesthetic perfectly capture the mall mise-en-scene.

Now and Then somewhat successfully pushes all the right emotional buttons by depicting themes common to most young girls, but I expected more, not less, from the now in Now and Then.

Jim Jarmusch's elegiac, hilarious performance as a man about to smoke his final cigarette is brilliant.

Although there are some exhilarating moments here, they're offset by frequent distractions: Lewis' standard (and now boring) weird performance, an occasional lack of logic in the story line, a tendency to go operatic, and the overall feeling that the movie is unsure of where it is going.

Friedkin, to his credit, gives us a nicely compelling car chase through the near-vertical hills of San Francisco, but it's only five minutes long, and this is a 105-minute film. What to do with the other 100 minutes? No one seems to know.

It’s a nice debut piece for director Baumbach, despite the film’s reliance on the twentysomething blues formula.

On the mean streets, Devil is okay; but it's something special when it gets to Easy's street.

Far and away, one of the most tedious, uninspired offerings thus far (and, worst of all, the door is left open for yet another pointless sequel).

Kidman inhabits the lead character of Suzanne Stone (yes, Suzanne Stone) with such sly and delicious zest that we can only wonder why this aspect of her acting has been buried under blonde dramatic ambitions.