Wastes most of its 110 minutes making impotent jokes about male sexual behavior and the repugnance of old women.

The deliberately obvious equating of knife throwing with sex would be funnier if it weren't so serious, and the undercut eroticism is part of what makes the movie themeless, merely a conceptual exercise.

As an interweave of crosscut miniplots, this isn't nearly as interesting or as pleasurable as Jeremy Podeswa's recent "The Five Senses."

There are enough plot points to fill an entire soap-opera season, but writer-director Chi Muoi Lo, who also plays the son, somehow manages to juggle them all, turning seemingly superfluous elements into workable drama and metaphor.

The plot keeps switching tracks.

Intriguing but poorly executed ideas are the basis of this not entirely unappealing romantic comedy.

This made-for-cable opus, halfway between documentary and docudrama, is willing to try anything and everything except for a consistent relationship to its material.

While Milani lacks an overall cinematic vision, she skillfully uses composition and camera movement to underline emotions in each scene.

The sheer neurotic intensity of Techine's characters--characteristically stretching both backward and forward in time, as in a Faulkner novel--holds one throughout, as does Techine's masterful direction and many of the other performances.

Assume that viewers are too hungry for mindless thrills to care whether dead characters spring back to life or live ones change their personalities according to the needs of the moment.

The opening half-hour--the burglary of a jewelry store, filmed in meticulous detail--is as good as its inspiration in The Asphalt Jungle, but the film turns moralistic and sour in the last half, when the thieves fall out.

The feature has some lovely effects.

Formula thriller that exploits homosexuality better than murder-mystery clues.

The story didn't fully answer all my queries about the characters, but did such a nice job of keeping me interested that I wound up appreciating the mysteries that remained.

An intriguing noir whose conceptual sophistication is partly undermined by naive execution.

Exciting mainly because anything can happen and does, the movie drags a bit as it approaches a climax set atop the Statue of Liberty.

It's good to see a gay relationship treated no differently than a heterosexual one would be.

Possibly the most daring and honest drama about sexuality I've ever seen.

Vigilant viewers may spend many of the 101 minutes fixating on tiny holes in the plot, but I was busy being moved by the premise and the filmmakers' confidence in the power of their metaphor: a little boy who's disappointed in the man he grew up to be.

Two generic ideas amount to nothing in this theatrical dark comedy about violence and information overload.

Spheeris, who includes her offscreen questions, evidently sympathizes with her subjects, though this doesn't stop her from pointing out their hypocrisy.

It's hard to think of many more galvanizing definitions of what it means to be an American than Cho's volcanic self-assessments.

Writers Liu Fen Dou and Cai Xiang Jun and director Zhang Yang move freely and gracefully between fantasy and reality in this sentimental film, which never becomes as trite or calculated as you might fear.

As a ditz who's just smart enough to know something isn't right, Lyonne blends hyperbole and sincerity in perfect proportions.

Political incorrectness, gross-out humor, references for their own sake, and some real wit are distributed over the 85 minutes with an unusually consistent sense of timing and proportion, and the tone is just right.

Scary and exciting.

Beautifully regenerates the Jay Ward TV show its characters were based on.

The movie does have a certain amount of star power and occasional bursts of inventive mise en scene, which do a good job of diverting us so we don't realize that not much else is going on.