Cillian Murphy gives a tour de force performance.

While the outcome is never really in doubt, director Frederic Fonteyne illuminates the wife's inner world with a rich sense of atmosphere, and Emmanuelle Devos' riveting performance manages to convey every shift in her character's suppressed emotional life with the subtlest of gestures and expressions.

Director Eran Riklis entertains without sermonizing, though the story clearly identifies women as the region's best chance for peace.

Watching this thriller is like drinking milk that's about to turn: it looks OK but smells a little dodgy.

Flawless comic timing and vivid imagination power this rollicking sequel to "Jumanji."

The movie flames to life whenever Donald Sutherland moves into frame as the young ladies' relaxed, humorous, and magnificently rueful father.

The directors exercise their stylistic flourishes mainly in the imaginative sequences depicting the young daughter's trancelike state while she conjures up the correct orthography in the spelling bees her father's determined she must win, and while the film observes the same heartbreaking obsessiveness as the popular "Spellbound," it has none of that documentary's cuteness.

Most of the gags misfire, though some scenes are memorably tawdry.

It's the most exciting stand-up performance I've seen in years, yet in all honesty I can't say it made me laugh that much.

Director Mark Bamford has a feel for the entanglements of daily life, and his lively editing rhythm holds the multiple stories together.

It has been called both detached and loaded, unfairly slanted as well as balanced by some of its critics--I can only testify that I found the film both troubling and absorbing over two separate viewings.

This downbeat indie drama gives the leads a few excellent scenes together, and they acquit themselves credibly. But there's also a fair amount of wilted comedy from the stock supporting characters.

The intense focus on this trio makes for good portraiture, but it left me hungry for more about the social context that shaped them.

Sheridan gives this a pacing and depth one doesn't often find in "urban" product, though Jackson, reliving his own life traumas, is handily upstaged at every turn by Terrence Howard (Crash) as his oddball manager.

Animation fans will find this worth the wait.

Jarhead virtually begins with a rip-off of the basic-training sequence that opens Stanley Kubrick's "Full Metal Jacket."

Kevin Jordan (Smiling Fish and Goat on Fire), a protege of Martin Scorsese, wrote and directed this dull 2005 autobiographical feature; it feels real, but solid performances fail to enliven the characters.

Survivors of the 70s may find their memories stirred by tales of cruising Studio 54 and the Saint, of abandoned piers and empty Allied vans; younger viewers may be fascinated by the contrast between these balding middle-aged men and their black-and-white snapshots, showing them in tight jeans, flannel shirts, long hair, and Zapata mustaches.

Reminiscent of the TV series "Northern Exposure," this 2001 indie comedy by writer-director Kate Montgomery smoothly transplants 30s-style screwball comedy to an Apache-run ski resort.

I missed the first half hour of this Zorro adventure, and it's a tribute to the idiot-proof screenplay that I had no trouble following the rest.

The real revelation here is Streep, who spends every moment comically negotiating her conflicted impulses.

Comes to life only when it reprises elements from the original movie.

Written by Steve Conrad, this is the smartest script director Gore Verbinski has ever had, and he makes the most of it, aided by a strong cast.

Watchable but not very illuminating.

A masterpiece, one of Michelangelo Antonioni's finest works. (Review of Original Release)

"Cut" is the most interesting of the three shorts because Park uses the opportunity to take stock of his career and the excruciating cruelty of his movies.

The troupe veterans interviewed, most in their 80s and 90s, are wonderfully passionate; the affecting ending shows them still working as dance teachers and archivists all over the world.

The title modifies a term coined by political scientist and philosopher Arthur Bentley that refers to the interactions between people and their environment, and the notion of a shifting center is what gives this experiment much of its interest and also limits it from going very far in any single direction.