Sicko horror film from Australia, whose sadism is topped only by its absurdity.

In this eerily tranquil psychological thriller, Nicole Kidman's placid countenance is like a Rorschach: you'll project onto it what you want to see.

Director Roger Michell seems genuinely taken with the contrast between brotherly love and homosexual obsession, but these themes are overwhelmed by the suspense machinery.

This is both melodramatic and overly tidy in its plotting, but its odd personal relationships are utterly believable.

Payne's entertaining but familiar comedy lacks the insolence of his "Election" and the freshness of his work with Kathy Bates in "About Schmidt."

Most of the chills have been faithfully re-created, though first-time screenwriter Stephen Susco hasn't done much to straighten out the muddled narrative.

Another go-round for the premise of an overaged kid insinuating himself into a stranger's family.

You'd have to be a real curmudgeon not to enjoy a show with Ruth Brown, Mavis Staples, Solomon Burke...

Here his (Bale's) physicality is repellent, yet he carries the occasionally creaky plot of Scott Kosar's unsettling screenplay to a resonant finish.

Despite a few narrative confusions, I found it pure magic.

Seriously gruesome docudrama.

The movie's studied tranquillity will appeal to some, though its embrace of traditional village life struck me as self-satisfied to the point of smugness.

A masterful documentary, one of the most unsettling discussions of Vietnam and its aftermath ever to appear in any medium.

So perversely enjoyable it gives the lie to her (Breillat's) image as a serious, politically incorrect purveyor of pornographic instincts.

This is hysterically funny in parts, but most of the laughs are raunchy or scatological--always a sure bet when puppets are involved.

Manages to transplant the action to Chicago without completely ruining it, though the emotional impact is largely deflated by the change in cultures.

Witty, satisfying, and a terrific showcase for the radiant Bening.

Even the always radiant Linney can't save this misbegotten film.

This is a masterwork by Ousmane Sembene, the 81-year-old father of African cinema and one of Senegal's greatest novelists.

There's an uplifting message about heroism, dispensed in dialogue so familiar you can practically lip=synch it.

Naim's premise has possibilities, but its execution often feels slapdash -- the viewer's sense of deja vu may be even more excessive than the characters'.

This film doesn't really clear the bar, but it's handsomely mounted and proves that heartless manipulation of the weak and gullible never goes out of style.

Much of the film's potency derives from its personal edge -- the passion for precise period decor, the title dedicating the film to Leigh's parents (a doctor and midwife), and even the childlike classification of many characters as either good souls or villains.

Captures all the action of a tumultuous season while showing the emotional toll on the players.

This teen romance doesn't have a single authentic moment.

In contrast to the clueless media cliches about suicide bombers, this offers a comprehensive and comprehending portrait of what helps to produce them.

Roberts never surmounts the cracker-barrel contrivance of the plot, but his low-key humor, clear affection for the characters, and strong cast are enough to put this gentle drama across.

A half-baked conspiracy subplot in the last third makes Carruth's knotty narrative even harder to follow, but this is still scary, puzzling, and different.