Even though I appreciate this movie's craft, I wish I hadn't seen it. It's a heady, progressive -- or perhaps elaborately conservative? -- romance, but it's also a tale of terrible suffering.

Striking for its performances -- especially Anthony LaPaglia.

Far and away the funniest comedy in town.

The acting is mainly horrendous, the English dialogue frequently awkward, but they're overcome by the beautiful colors and settings and a grim sense of the uncanny spilling over into twisted humor.

Though it isn't so much funny as clever, the parody will hopefully discourage some aspiring teen-movie makers from doing the same old thing.

It reeks of unearned profundity, but I found it entertaining.

The appearance of circus performers in any film not by Fellini usually bodes ill, and it does so here.

One of the film's most poignant moments comes when he and his father discuss his compulsive attraction to young boys.

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.

Despite its mawkish tendencies, the film is remarkable for the naturalistic acting of its cast, particularly the simple, tenderly expressive performances of the two leads.

I was hooked from the start.

while the war-as-insanity metaphor clearly fits the cruel, heartbreaking story, its force is undercut by a succession of character types -- ambitious television journalists, outmatched UN peacekeepers, overbearing politicians.

A pretty good caper comedy for 11-year-old boys -- "heist thriller" would make it sound too ambitious.

The film raises many interesting questions about our own responses, but it may finally be too open-ended for its own good.

Weir does manage to deliver the goods.

Nobody seems to know quite what he's doing in this opulent but fairly empty period fashion show, apart from campy overactors like Christopher Walken and Jonathan Pryce who appear eager to fill the voids left by their colleagues.

The end justifies the means as long as everything turns out OK for the not-too-obedient American soldier and everyone else who enjoys Coca-Cola.

I couldn't always keep up with what was happening, but I was never bored, and the questions raised reflect the mysteries of everyday life.

Slack and saccharine more often than it's funny.

Despite the familiar story, both kids are three-dimensional characters, and first-time director Patel embraces their generational dilemmas with feeling and wit.

Better than slick, though it feels pointless -- another homage to a kind of filmmaking that's had more than its share.

A killer ending does not a movie make, and ultimately In the Bedroom may be more interesting to talk about than sit through.

Improves as it unfolds.

An entertaining and atmospheric revenge tale.

Wears its art, as well as its heart, on its sleeve -- so much so that I feel guilty for not liking it more.

Reasonably entertaining spy-versus-spy shenanigans were for me partially undercut by the hypocritical pretense that the CIA and its various forms of mischief were somehow being ridiculed.

Jamal (Martin Lawrence), starts trying to make the best of a bad situation, which becomes our job too.

As if to justify a serious discussion of this comedy before dissing it, some reviewers have pointed out that it evokes Casablanca. Maybe that's why the plot seems imposed on the characters.