Loses much of the book's complexity but gains dramatic power from a cleverly streamlined screenplay... and several persuasive performances. No previous movie has made Austen's vision seem so vivid and alive for contemporary times.

Filmed in a quietly impressionistic style and splendidly acted by a well-chosen cast, the movie would be a top-of-the-line entertainment if its delicately balanced perspective weren't marred by a few moments of racially insensitive excess.

The latest installment is packed with surprises and emotion for people who've seen earlier stages of the project, but even newcomers will be fascinated by the vivid glimpses it provides of everything from love and family to political action and the pervasiveness of class distinctions in British life.

Wildly irreverent fantasy.

Egoyan's cinematic brilliance shows up intermittently in this atmospheric thriller, which gains most of its punch from Hoskins's surprisingly subtle performance.

The story is a sort of "Stella Dallas Meets Slums of Beverly Hills," helped by heartfelt acting from its talented stars.

Besson's account of the Maid of Orleans presents itself as a celebration of a martyr's faith but shows more interest in the violence and hatred that surrounded her life.

The story is irresponsible and the filmmaking is awful.

So sloppily made that it's barely coherent.

Nicely acted and capably directed, but hardly memorable.

Carries a strong emotional charge along with its valuable reminder of the suffering that youngsters may undergo when a heedless society overlooks their needs.

This variation on the "Rear Window" format works best when director Noyce gives free rein to Washington's thoughtful charm.

More imaginative and responsible than the somewhat similar "Life Is Beautiful."

A gifted cast and a surprisingly delicate ending are the movie's best assets.

Excellent acting, a stirring screenplay, and crisply intelligent directing make this fact-based movie a great human drama as well as a riveting and revealing look at crucially important social issues.

Herzog soft-pedals his cinematic ingenuity in this personal documentary about his love-hate relationship with Kinski, whose performances in Herzog classics...helped both of them become towering figures on the international movie scene before Kinski's untimely death.

Funny dialogue, crisp black-and-white cinematography, and a well-chosen cast of mostly stage-trained actors raise this eccentric fantasy a notch above the ordinary.

Overacted, overdirected, and overcooked in the usual Tornatore manner, but sheer energy and enthusiasm keep it watchable and listenable most of the way through.

Sincere acting lends the film a measure of dramatic dignity.

The story's can-do attitude and moments of soaring music make it a must-see for moviegoers seeking positive visions on the screen.

More thoughtful and varied than the average Hollywood cartoon.

(Jonze and Kaufman's) work is so bold, funny, and original that it's hard to believe they aren't wide-screen veterans.

Strains to be shockingly original but winds up as cheap and cheesy as its characters.

Each minidrama is quietly touching and compassionate, and Riker is honest enough to avoid suggesting easy solutions for the social, cultural, and personal challenges his characters confront.

Equally fascinated by the afflictions of life and the usually squandered opportunities these afford for courage and self-sacrifice.

Violent and vapid, but the visual jolts may please horror buffs.

Audiences may want their own speedy divorce from this irritating collection of stale jokes, pointless vulgarities, and warmed-over clichés.

Energetic acting and directing make it a less exasperating experience than it might have been.