A multifaceted misfire from writer-director Steven Zaillian.

I can't yet decide whether the film works or not, but it certainly held me for its full two hours.

The first half of the film, in which Maglietta gradually discovers herself as something other than a servant, is genuinely engaging.

It's Tykwer's most assured picture to date, and like much of Kieslowski's best work it qualifies simultaneously as engrossing narrative and philosophical parable.

The full-throttle approach of director Doug Liman (Swingers, Go) is impressive.

Kurt Russell gives a terse, unsentimental performance as coach Herb Brooks, but director Gavin O'Connor sticks to the "Hoosiers" playbook.

It's well mounted and lushly photographed, and Rappeneau deftly orchestrates the crowd scenes as Parisian elites flock to Bordeaux, but the large cast doesn't mesh.

Walter Hill's first outright failure, this revisionist western draws on the major themes of his work—the relationship of pursuer and pursued; the beauty of clean, planned action; the attraction to violence and resultant moral revulsion—but none of them ignites.

Unfortunately for Polley, Take This Waltz is a good film serving mainly to remind us that "Away From Her" is a great one.

The plot is minimal, but the film is essentially an acting showcase. Allen is excellent.

Director Nicolas Klotz paces his mystery plot so luxuriously that it feels like a ride in a company limo, though his ultimate thesis, that corporate culture is inherently fascist, hardly seems worth the trip. The saving grace is Amalric, who looks so sharp in a tailored suit that he can't sense himself rotting from within.

Carmelo, the central figure, returns home when his mother's health begins to decline, and his love of family, something of an abstraction in the first part, leaves him deeply divided: he wants to care for them personally, but he can better provide for them by returning to the U.S.

What comes across is a fascinating fetishist delirium, where memories of remote war movies get recycled into something that's alternately creepy and beautiful.

Reasonably lifelike and nicely acted (Keener is especially good), but otherwise nothing special, this is an OK light comedy.

It's hard to believe that anything this academic and artificial was once considered great filmmaking, but you can look it up.

Elvis made a few better films (including Peter Tewksbury’s The Trouble With Girls and Don Siegel’s Flaming Star), but none that drew so well on the bad-boy side of his personality.

Avrich offers a cogent appraisal of Wasserman's importance to the industry and duly notes the darker aspects of his empire (among them MCA's alleged ties to organized crime).

Especially interesting are the complex relations among the residents of the ghetto.

William Friedkin's remake of the French thriller Wages of Fear represents an above-average effort by the director of The Exorcist—meaning it's marginally watchable. Friedkin senselessly complicates the simple story—four men drive a truckload of nitro through a South American jungle—with a lengthy exposition and some unfortunate existential overtones. The rhythms are all off—it's either too fast or too slow—but most of the set pieces are effective.

Michael Ritchie's 1985 mystery comedy has the pleasant, modest feel of a Fox B picture from the 30s—a Charlie Chan with a sense of humor... It does make for a decent evening's entertainment.

The film looks like an attempt to make a Martin Scorsese movie without Martin Scorsese.

No simple tabloid recap. Gibney applies himself to two mysteries, neither of which he unravels but both of which make for gripping cinema.

The effects are done with playfulness, zest, and some imagination (they range from a barker batting paddleballs in your face to a murderer leaping from the row in front of you), making this the most entertaining of the gimmick 3-Ds.

Despite Jarecki's varied success in bringing these six people's stories to life, their stories personalize our current geopolitical predicament and remind us that in a democracy no one can shrug off responsibility for the war.

Shirin Neshat, best known for her video installations, makes her feature directing debut with this elegant, often moving story of four Iranian women trapped by their circumstances in the turmoil preceding the 1953 coup.

The film exudes complacency and self-congratulation; it is a very cowardly, craven piece of ersatz art.

The engineering of the special effects is fairly impressive, and the sight of so many objects and creatures being buffeted about carries a certain apocalyptic splendor.

The picture is completely devoid of cinematic interest, adopting instead a tiresome theatrical aesthetic in which showy monologues are filmed in interminable, usually ill-chosen long takes.