I might have enjoyed Desert Hearts more if it had been more subtle and observant about the two women. It might have been a better movie if it had been about discovery instead of seduction.

It works gloriously as space opera.

In the autobiographical documentary McEnroe... we’re reminded of McEnroe’s dominance on the court — as well as the antics that earned him a reputation as a brat who polarized the tennis world.

Anderson is like Dave Brubeck, who I'm listening to right now. He knows every note of the original song, but the fun and genius come in the way he noodles around. And in his movie's cast, especially with Owen Wilson, Anderson takes advantage of champion noodlers.

This is a sweet, funny, smart, genuine all-ages movie with simple, timeless messages.

I enjoyed the film on two levels: for its skill and its silliness.

Giamatti's performance is one of those achievements. He is making a career of playing unremarkable but memorable men.

Director Carl Hunter infuses Sometimes Always Never with creative visual touches, whether he’s using graphics to illustrate certain Scrabble words, or shooting a poignant scene through a patterned glass door, so we feel the emotions of the character in question just through the movement of his silhouette.

Not at the level of "Finding Nemo" or "Shrek," but is a lot of fun, awfully nice to look at, and filled with energy and smiles.

Rich and droll, and yet slight--a film of modest virtues, content to be small, achieving what it intends.

As for myself, I think he made it all up and never killed anybody. Having been involved in a weekly television show myself, I know for a melancholy fact that there is just not enough time between tapings to fly off to Helsinki and kill for my government.

Has a bracing truth that's refreshing after the phoniness of female-bonding pictures like "Divine Secrets of the Ya-Ya Sisterhood."

They talk warmly and with enthusiasm about certain titles, but I have the eerie feeling that they must be at a movie whether they enjoy it or not.

The Way I See It tells Souza’s remarkable story in straightforward and effective fashion, as even Souza himself seems surprised at the turn his life has taken.

It takes a lot of patience to watch The Russia House, but it takes even more patience to be a character in the movie. To judge by this film, the life of a Cold War spy consists of sitting for endless hours in soundproof rooms with people you do not particularly like, waiting for something to happen. Sort of like being a movie critic.

The Soderbergh version is like the same story freed from the weight of Tarkovsky's solemnity. And it evokes one of the rarest of movie emotions, ironic regret.

There's so much good here, in the dialogue, the performances and the observation, that the movie succeeds at many moments even while pursuing its doomed grand design.

Run is stopped dead in its tracks by a howler of a screenplay that regularly calls for various characters to behave as stupidly as the dumbest victim in a splatter movie.

With much of the dialogue based on the actual conversations between killer and profiler, and Wood and Kirby turning in stellar work, No Man of God feels memorably, sometimes chillingly, real.

This is not a deep movie, but it's a broad one. It reunites three talents who had an enormous hit with "Y Tu Mama Tambien": actors Gael Garcia Bernal and Diego Luna, and Carlos Cuaron, who wrote that film and writes and directs this one. Instead of trying to top themselves with life and poignancy, they wisely do something for fun.

Score is a straightforward film told in relatively broad strokes.

Hal Hartley is on his way to creating a distinctive film world, and although Trust is not a successful film, you can see his vision at work, and it's intriguing.

But the second act is pandering and the third is trickery, and whatever Fincher thinks the message is, that's not what most audience members will get.

It is also a film of controlled visual style; Kitano's compositions are like arrangements of bodies in space and time. That said, and with all due respect, I expected a better time.

Even the ordinary moments in True Stories seem a little odd, as if the actors are trying to humor the weirdo they're working for.

[An] extraordinary documentary, nothing at all like what I was expecting to see. Here is not a sick and drugged man forcing himself through grueling rehearsals, but a spirit embodied by music. Michael Jackson was something else.

Coppola is a fascinating director. She sees, and we see exactly what she sees. There is little attempt here to observe a plot. All the attention is on the handful of characters, on Johnny.

Likely to appeal to the fans of "The Sixth Sense," "Ghost" and other movies where the characters find a loophole in reality. What it also has in common with those two movies is warmth and emotion.