It goes beyond sympathy and authenticity to insight as it examines the plight of a man who loves a man but feels he must love a woman.

Outlandish but gripping paranoid thriller.

Registers as frighteningly typical and indicates how successful the Bush administration has been at convincing Americans that Saddam Hussein was behind 9/11 and armed with weapons of mass destruction.

Milius has nothing to say: this 1982 film only hints at the romantic heroics of "The Wind and the Lion" and has none of the personal quality of "Big Wednesday."

It wasn't so bad, aside from the god-awful ending; at the very least Freundlich manages to come up with funnier jokes than the ossified one-liners decorating Allen's recent movies.

The movie hits a surprising range of emotional grace notes, including several moments of genuine regret, and concludes with an understated moral lesson about the value of self-respect over social status, something that would never happen in an Allen film.

The kind of ugly-duckling role that's long been ironic for her (Bullock).

If there were any more cops on the edge in this arrhythmic, ham-fisted crime drama, Brooklyn would need a bigger edge.

The fundamental problems with David Cronenberg's disastrous 1993 adaptation, written by Hwang himself, are twofold: the unsuitability of such a premise for film, where the actors and audience no longer share the same space, and the miscasting of Jeremy Irons as the accountant and John Lone as the diva.

Provocative but also infuriating, this alarmist documentary argues that the levying of a federal income tax in 1913 was unconstitutional and set America on the road to fascism.

Mimi Leder directed Michael Schiffer's script, handling some of the action sequences deftly enough to promote the latent idea that people who don't speak English don't deserve to live.

A cute send-up of preadolescent stereotypes.

This Indiana Jones knockoff goes down smoothly enough, and Jolie isn't bad at all, though every time she opened her mouth I expected Mick Jagger to come dancing down her tongue.

Andrews is still a treasure, but the series's currency is plummeting.

Naim's premise has possibilities, but its execution often feels slapdash -- the viewer's sense of deja vu may be even more excessive than the characters'.

It's gooey fun for the first reel or two despite an abundance of close-ups that render the frantic action nearly unreadable.

What's left is the framework for a graphic, brutal, sickening film (1980), without the violent effects that might have made sense (however illegitimate) out of the conception. Like The Exorcist, it alternates five minutes of shock with ten minutes of dull exposition, plenty of time to watch Al Pacino wrestle with his miserably conceived character.

This forced spoof seems to be targeted at lesbian couples and hetero men with severe schoolgirl fetishes; that may be a legitimate market, but I'd hate to be sitting between them.

In this lavish adaptation of Lisa See's novel, the complex chronologies of the parallel narratives are skillfully handled by director Wayne Wang, which makes his reliance on unbridled sentimentality all the more irritating.

Hovers just this side of "Ghost Whisperer" kitsch but remains compulsively watchable thanks to its smart ensemble cast

Seems like a dopey idea to me, but if you aren't familiar with the Fitzgerald novel, you may enjoy this; at least Jones and his costars play the story as if they believed in it.

The tectonic shifts in this camp-horror extravaganza are unsettling.

As old-fashioned movie fun, this isn't bad, even -- especially? -- when it skirts the edge of silliness, and it's better than the 1960 George Pal version.

At first I thought I was watching yet another version of "A Christmas Carol"; then I wondered if it was a remake of "It's a Wonderful Life"; finally I gave up trying to find anything at all in it that was unfamiliar.

Impressively nuanced.

It's not a sex movie but a parody, and the loose feel is part of its genius.

Armitage adds a slick veneer of one-liners and slapstick to Leonard's novel, but the story has been so spun around that it barely knows how to end.

Bay Area filmmaker Jon Moritsugu (Fame Whore, Mod Fuck Explosion) is known for his angry, manic energy, but the characters in this video, denizens of the San Francisco art fringe, seem like they're heavily sedated.