Engagingly corny drama.

After a slow setup, this charming fable wisely spends most of its time on the golf course.

Rowlands and Unger deliver sensitive performances, Shields is surprisingly good.

The first third or so offers all the dominatrix fantasies one might wish for, but then fantasy gives way to the aggressiveness of the special effects and optical effects.

Has memorable characters and images. Yet the story is elusive and occasionally puzzling, and some of the ideas are amorphous and self-conscious.

A pretty good chronicle of a certain phase of French working-class life.

A sense of authenticity overshadows any contrivance in this subtly classic drama.

This concept comedy-drama would be even better if the intercutting among households had been timed to add dramatic content rather than simply advance the subplots.

Pretty funny caper comedy.

More grim and less sentimental than other Iranian films featuring plucky children, this strikingly photographed work stresses the harshness of daily life in Iranian Kurdistan.

Sitting through this barrage of all-purpose insults aimed at obvious targets was an unenlightening chore.

The violence is suggested in a way that's neither overwhelming nor insulting to a child's intelligence as this crafty fairy tale ultimately finds a way for human and vampire characters to live and let live.

A charming, albeit slightly overextended (even at 81 minutes) multiracial sex comedy.

A straight exploitation story.

The plots of animated features are often excuses for visual showboating, but here the lilting story line, based on west African folktales, complements the alternately sumptuous and austere images.

Most fascinating about this PBS documentary is the unflinching look at the dynamics of the three generations involved.

Well crafted and mindless in the best Hollywood tradition.

A fleet, enjoyable Jackie Chan romp.

One more sluggish, artfully framed thriller with Rembrandt lighting set in a New York borough--a kind of picture that's awfully hard to do in a fresh manner.

The truth is that this programmatic Christian parable is pretty unbearable--glib, often myopic, and reeking with sentimentality and self-pity.

Prior to its hyperbolic final act, this is one of Robert Altman's most skillful and least bombastic features in some time.

Insulting to audience and cast alike.

This watchable 1998 psychothriller deflects its cliches with canted angles, metonymic cropping, and a creeping pace, making it as much a parsing of "Twilight Zone"-brand irony as an example of it.

A delicate balance of fantasy and realism, caricature and character study that isn't driven primarily by its plot or even the development of its protagonist.

What emerges is oddly ineffectual and uninvolving.

Bridges and Allen are so bracingly good that you're encouraged to overlook how manipulative the proceedings are.

It's almost always night and almost always raining.

Writer-director Raymond De Felitta has crafted a pleasant, low-key script that's full of small surprises, nice turns, and engaging, naturalistic dialogue, and he keeps the big, emotional family scenes, which often render this sort of material cliched and hackneyed, to a minimum.