In a tale filled with perverse twists of fate, the most perverse may be that Overnight, not "The Boondock Saints," is Troy Duffy's masterpiece.

Richard Marquand's dull, literal direction takes all the edge off this variant on the “Will he kiss her or kill her?” formula.

Jayce Bartok--who plays Stanford's irresponsible musician brother--wrote the screenplay, whose central story of doomed young love gets lost amid the overplotting.

Stylistically captivating, subtly nuanced, and structurally unpredictable.

There are some funny scenes in which the two brothers spy on the wife, who may be having an affair, but the movie's climax is a badly contrived attempt to ratify Jeff's notion of personal destiny.

Walter Hill directed this 1989 feature from a pulpy script by Ken Friedman (based on John Godey’s novel The Three Worlds of Johnny Handsome), and its nasty, predictable plot and unpleasant characters aren’t made any more bearable by Hill’s customary smoke, sweat, funk, and neon.

Despite the aggressive silliness of this enjoyable comedy, the emotional focus on the painful social experience of high school makes the film real and immediate, and the flavorsome dialogue in Robin Schiff's script gives the leads a lot to work (as well as play) with.

The film is generous and often gentle. With Bill Murray, very likable as a head counselor who gruffly plays Wallace Beery to an updated, angst-ridden Jackie Cooper (Chris Makepeace).

This is the first feature I've seen by writer-director Dominique Deruddere, and I hope it won't be the last.

It's a jaunty adaptation, almost screwball.

Chen tries to generate some suspense, but there's never any doubt which side has to win.

I expected this to open out into another loud, thumping thriller. Instead it remains quiet and focused, exploring the couple's frayed relationship and the economic divide that separates the husband from his captor.

Directed with confidence, but it's extremely pretentious--the boy-meets-girl equivalent of Lars von Trier's “The Element of Crime”.

The result is a problem drama with more problem than drama.

Apted's tedious, literal-minded approach doesn't come close to solving the problems of a knotty, best-seller plot—the characters are reduced to telling each other what happened. Some action-movie slam-bang would have been more satisfying, if ultimately no more coherent.

Though the film tapers off a little toward the end, there's a climactic scene of recognition between the heroine and her father that was one of the most exquisite pieces of acting I'd seen in ages.

Tasteful, unremarkable art-house fare, rescued from complete irrelevance by Stephen Dillane's bottled-up performance as a writer scarred by the Holocaust.

As in Christopher Nolan's Inception, the premise is so mind-boggling and fraught with implications that it tends to obviate the action mechanics of the last couple reels.

Combines a delayed-gratification romance and rumblings of war.

Grandstanding 1961 courtroom drama about the Nazi war trials, courtesy of producer-director Stanley Kramer, breast-beating screenwriter Abby Mann, and an all-star cast—watchable enough on its own terms, but insufferably glib next to something like Shoah.

The movie not only indicts the country's embrace of capitalism by showing how low people will sink to make money, it also denigrates the agrarian class--once celebrated as heroic under Mao--by portraying its members as illiterate barbarians concerned only with continuing their family lines.

Engrossing biopic, throbbing with style and attitude.

The charm of the three leads makes it a movie worth seeing.

Gilbert would have done well to stick with these witnesses; instead his History Channel-type video presents a dutiful overview of the Brown case.

There are many fleeting poetic moments in The Neon Bible--moments so ecstatic that you may feel yourself rising off your seat. And if much of the rest of the movie tends to be clunky as narrative, that's a small price to pay for pieces of enlightenment you can happily carry around inside your head for months.

Smug and unconvincing.

The Holocaust subplot is contrived and schematic. Yet the central love triangle is fairly compelling, aided by Krol's fine performance.

Adam Sandler and Drew Barrymore make an appealing couple in this silly but very likable 1998 romantic comedy set in 1985.