Belvaux tells this seamy story with great energy, and gives an all-stops-out performance in the leading role. Also fine are Catherine Frot as Bruno's former girlfriend and Dominique Blanc as the addict.

Bridges is fun to watch, Fanning emerges as Hollywood's best 6-year-old actress, and Rogers's talents are wasted. A likable drama within its limitations.

A mixed package, but often fun to watch.

The acting and screenplay are amusing, but director Sitch might have taken a more adventurous approach to a tale with such an adventurous subject.

First-time director James McTeigue's big, bold imagery, with slashing reds and blacks, is a close approximation of the novel's look and feel.

If we must endure yet another spring-summer cycle of comic book superheroes, this movie at least delivers the wham-bang goods (recycled though they may be).

Entertaining documentary about stuntwomen who do risky business for a living.

The results are visually striking, but conceptually they oscillate between poetic, pretentious, and philosophically dubious.

At once sympathetic and unsentimental, this is a model of low-budget storytelling on a human scale.

One glaring question the film doesn’t raise: Why, given his history, is Tilikum still entertaining in sea parks?

None of Ferrell's movies have ever really done justice to the best of his "Saturday Night Live" work, but those of us who love his comedy have learned to take the good with the bad.

Both actors are a lot better than this material requires – or deserves.

Lindo gives a powerhouse performance of immense feeling and subtlety.

Moneyball presents a misleading story line in order to prop up Billy Beane as some kind of would-be miracle worker antihero. In truth, he's just another tobacco-chewing go-getter trying to make sense of a game that, thankfully, has never quite made sense.

Neeson and Rush give emotionally rich portrayals of the main characters, and August's proudly classical filmmaking keeps the dramatic energy high even when the secondary performances sag in the story's second half. [08 May 1998, p.10]

Vigorously directed by Joel Schumacher, the film is closer to a suspense thriller than a journalistic report.

I kept wishing that Still Mine had jettisoned the film’s true-story trappings and moved more deeply into the Craig-Irene duet unencumbered by bad-news bulletins from the building inspectors. Easily the best parts of the film are those in which husband and wife quietly summon up in often the barest of glances and touches a near-lifetime together.

They vary enormously in style, quality, and ideas, but the best of them -- by Gitai, Chahine, and Iñárritu, among others -- pack an enormous emotional and intellectual punch.

Strong acting and smartly tuned-in directing turn a run-of-the-mill detective story into a striking, sometimes harrowing blend of horror and suspense.

The movie is lively, funny, and endearing until melodramatics and sentimentality take over in the last few scenes.

Directed by Soviet filmmaker Andrei Tarkovsky with the same unearthly visual style, and the same mingled concern with technology and psychology, that he showed in his towering ''Solaris'' a few years ago.

This capably made HBO documentary takes an understated and compassionate look at a subject that is often sensationalized in other contexts.

Poignant, spirited, revealing.

Mamet's screenplay is full of savvy satire and the cast couldn't be better.

Isn't glossy, but it has a thought-provoking mix of skepticism, hopefulness, and respect for all but its most scurrilous characters. Hollywood could learn from its canny blending of psychological and multicultural insights.

An enjoyable movie that marks a rattling good directorial debut for Stephen Fry, the English actor who's best known for starring in "Wilde" seven years ago.

In Source Code, the new thriller starring Jake Gyllenhaal, "Groundhog Day" goes metaphysical. Some people, I know, will argue that "Groundhog Day" was already metaphysical. Perhaps, but compared with "Source Code," it's "Caddyshack."

Bale is brilliant.