Like "Tango," Wang's film also seeks to uncover whether sex without emotion is really possible, or worth the effort.

You Kill Me kills you softly with its smiles.

Superior family fare.

In the end, this is a movie that doesn't respect its own power. Less of a stacked deck would have left Vera Drake to play a far more effective hand.

The best moments in Paper Clips - and there are plenty - come when it doesn't resort to mundane cliches or calculated emotions to make its point.

Earns few points for originality, but scads for good-hearted exuberance.

Jet Li and Bridget Fonda form a terrific bond in this action film. And the choreography adds a nice kick, too.

By all means, buy a ticket to The Fast Runner, but don't go expecting a masterpiece; actually, in its first hour, the dramaturgy and staging of scenes set in igloos are cramped and amateurish.

The Bourne Identity keeps you in a state of nervous excitation from the opening shot to the fade-out and has a thread of deadpan humor that vibrates alongside the main action like a third rail quivering next to a hurtling train.

Say 'I do' to Best Man.

Black Hawk Down, in the end, is a docudrama. But it's sensationally well done, and it opens up a battlefield that needed to be documented.

Touching and insightful.

Fairly bursts with the exuberance and youthful energy that must have attended its creation.

Modest, tasty, and it goes down easy, like home cooking.

Hellboy is, to borrow a phrase, one helluva good time.

The basic trouble with The Hand That Rocks the Cradle is that it goes on far longer than it should. A film of this sort should be no longer than 85 or 90 minutes. This one is 110 minutes long, which means we have to wait much longer for the mouse to turn on the cat.

The movie doesn't add up to much, but it's an effervescent expression of an odd brute-hummingbird sensibility.

It was a time in history eminently worth celebrating on film.

Queen Latifah, the star of Barbershop 2 and Beauty Shop, and thus our reigning monarch of big-screen beauty stylists, should fund and narrate a sequel. Because The Beauty Academy of Kabul is good enough to make you want to know how they do.

This comedy of stereotypes pokes fun at poker buddies and coffee klatches only to make room for variations on more recent stereotypes. Some of the boldest 'types provide the funniest bits, such as Jon Favreau's embodiment of an upscale Stanley Kowalski who treats all-male card games as clan rites.

Amy Adams beguiled audiences in "Junebug" and "Enchanted" and breathed humanity into the histrionic "Doubt." In the eccentric comedy-drama Sunshine Cleaning, set in the least picturesque parts of Albuquerque, N.M., she tops her own proven talent for epiphany.

Tautou's kind of talent: priceless.

The genius of Garfield's performance is that he fills him with equal amounts of terror and wonder.

What makes this movie ultra-contemporary is the way Abrams has re-imagined Spock and Kirk as a team of rivals.

A slice-of-life where being gay is a fact of daily existence, not an excuse for existential dilemmas or grand tragedies.

It's the performances of Ulrich and Gooding, in particular, that lift Chill Factor out of the derivative. Gooding possesses so much boundless energy that he practically dares you not to care, not to get involved, not to root for his success.

Surprisingly moving and intellectually satisfying.

The picture captures a contemporary mood-blend of cynicism, anger and woefully disappointed idealism. Runaway Jury may be just a classy potboiler, but Fleder spices up the stock and keeps it at full boil.