Kurt Russell and Kris Kristofferson, both graceful and naturalistic actors, are the best things going in this formulaic drama.

A romantic comedy with precious little romance and even less comedy.

With its flashy, pretentious visual effects, this is really a 98-minute dream sequence--though it's worth recalling that the most effective dream sequences tend to be only a few minutes long.

Cheerful mess of a pulp-fiction parody.

Dramatization is often a questionable tactic in documentaries, but by picturing Leopold (Elie Larson) on trial like Adolf Eichmann, Peter Bate adroitly compares the colonial genocide to the Holocaust.

In the end, this admirably broadens our knowledge of the era but doesn't much deepen it.

Samson Chan's color-saturated visuals add punch to the absorbing narrative, but overall this documentary plays like slickly packaged TV fare, right down to the plugs for Nike.

Hadzihalilovic, the wife of cinematic agent provocateur Gaspar Noé and his sometime collaborator, has created a work of limpid beauty and eerie menace that some undoubtedly will dismiss as kiddie porn.

Levin's curiosity and evenhandedness distinguish the movie.

Reeves's film is distinguished by its formal rigor--she makes beautiful use of an array of avant-garde techniques, including overexposed footage and an elliptical voice-over.

The ability of faith to reintegrate a damaged personality is one theme here, although the film doesn't strive for psychological realism; in its heartfelt embrace of religion as ethical path, it owes more to the bygone Yiddish drama than to psychodrama.

Kaplan's decision to violate documentary principles by using songs to "narrate" some sections is simply irritating.

It's good sleazy fun for a while, jacked up with an assortment of edgy visuals, but the greenish yellow tint favored by action director Tony Scott is a good metaphor for the movie's jaundiced sensibility.

An especially lame variation on Crowe's feel-good formula.

The production values are above par, but as in Carpenter's original, seeing ghosts is less scary than imagining them.

Alison Lohman isn't very convincing as the reporter who's trying to dredge up some dirt on the entertainers, and the elaborate flashback structure can't hide the fact that the story never fully comes to life.

Charlize Theron, in nonglam mode, dominates this powerful drama about sexual harassment at a Minnesota iron ore mine in the early 90s.

Gripping drama.

This has its sappy moments, but both women give wonderfully detailed performances, aided by Michael Learned as Hunt's mother and Chris Sarandon as the calm, cold minister.

The scenes are so dramatically cogent the characters' lives seem to stretch far beyond the concluding blackouts.

This tender and funny feature benefits from an appealing cast--in particular Stadlober, who brings depth and honesty to what could have been a formulaic coming-out chronicle.

Muddled on the issues, but it earned its Oscar as a dramatic, involving story, full of tough and appealing characters. (Review of Original Release)

The film adopts, somewhat insidiously, the myth that life was simpler back in 1953 and '54, and it offers Murrow as a lesson for today.

Writer-director Rob Hardy opts for family-friendly drama but tones down the conflicts so much that none of the story lines can rival the music.

Overlong, undercooked drama.

Silly but enjoyable drama.

It's a great premise for comedy, but this thing is too dumb to do it justice.

The hero (played with the right amount of adolescent insouciance by Max Riemelt) is a working-class boy admitted to one of the academies for his formidable boxing skills, and through him director Dennis Gansel captures the ordinariness of Hitler's supporters.