The film is absorbing enough as an intimate family portrait, complete with friction.

Superior in every respect to the PBS documentary "The Murder of Emmett Till."

The surprise ending is neatly done, but the characters are so thin that waiting around for it is no fun whatsoever.

Penis jokes fly fast and furious, and while they're hit-or-miss they're occasionally very funny. Schneider always plays a variation of the same put-upon schlemiel, a formula that worked fine for, well, Buster Keaton and Harold Lloyd.

A career low for Mark Wahlberg and director John Singleton (Boyz N the Hood), this ridiculous mean-streets adventure starts out like a Hell's Kitchen melodrama from the 30s and eventually spins off into a series of gunfights, beat downs, and trite Motown numbers.

Benjamin Bratt lacks the dynamism one would expect of the commanding officer of a U.S. Rangers rescue unit; James Franco, however, is solid in the less flashy role of the mission's mastermind, and as the POW leader Joseph Fiennes manages to be heroic while prettily languishing from malaria.

David Mackenzie, who directed the remarkable Scottish drama "Young Adam" (2003), delivers another masterful, disturbing tale of illicit passion, erotic obsession, and sudden death set in the 1950s.

This is an engrossing look at obsessive behavior gone terribly awry.

Tries to be an audacious, irreverent satire about youth culture like "Lord Love a Duck," but most of the laughs get strangled at birth by the uncertainty of Siega's tone.

But the big scare scenes seem particularly isolated here, supported by neither the flat characters nor the vague plot.

Cheung can't make the woman very interesting in her own right--the most compelling performance here is Nolte's.

Revolting exploitation feature.

As soon as it became clear that this remake has nothing to do with real Georgia moonshiners and everything to do with car chases, smashups, and explosions, I could sit back and enjoy it as good, stupid fun.

Jarmusch's narrative setups are often artificial and implausible, but his stories are usually charming anyway because the sense of character runs deeper than plot.

Wong uses his brief evocations of the future mainly as a way of poetically lamenting the past.

Moderately watchable but awfully predictable.

Slick, violent thriller that could seriously dampen tourism to Venezuela.

This is superior family entertainment--warm, thoughtful, and connected to the landscape.

Written by Angus MacLachlan, this indie drama explores the lingering tension between north and south with vinegar and precision.

The script by sitcom veteran Gary David Goldberg has weaknesses--it soft-pedals bitterness, and the ending is annoyingly pat. On balance, though, this is a funny and smartly paced love story.

While it's loaded with visceral thrills, it never rises above the level of an extended video game or an advertisement for the military.

You won't be too bored.

The hues are so muted you may remember this as a black-and-white film, but its emotions are as vivid as primary colors.

The ethereal private moments and inspired passages are beautifully shot by Jean-Marie Dreujou, but Dai never quite organizes the material dramatically, and the tone is too often jagged and disruptive.

Honkasalo's bleak, meditative 2004 documentary, about children who have been orphaned or dispossessed as a result of the Russian-Chechen conflict, eschews any attempts to make sense out of this long-running war.

While not particularly cohesive, this 2002 film has some nice moments of comedy and father-son poignancy.

Despite occasional patches of hokey dialogue, this drama by writer-director Craig Brewer is solid and genuinely uplifting.

Steve Buscemi supplies the only spark of intelligent life in this numbingly flat universe, despite the fancy gadgets, the high-speed chases, and a skyscraper collision reminiscent of the World Trade Center attacks.