The screenplay is convoluted but fascinating, flawed less by its built-in complexity than by the limitations of the characters' psychological depth.

Meant to be a romp in the old Ken Kesey tradition, it's more like a dull drive with a bunch of leftover flower children.

In the popularity sweepstakes, Stage Beauty may earn top honors, outdoing the overrated "Shakespeare in Love" as a dramatic comedy about life and love in an era more naive - but hardly more innocent - than our own.

Stirring on religious and humanitarian levels, and very timely notwithstanding its 1979 setting.

Sordid and sleazy, although the lead performances are hard to fault.

Diverting but minor.

Frivolous but fun, somewhere between a comic "French Connection" and the craziest Nascar race you never saw.

Harrowing, extremely disturbing at times, but brought to the screen in dazzling pop-art images that make the movie's grim content very much worth watching.

The screenplay isn't remotely as funny as it tries to be, and the visual style is equally unexciting.

David O. Russell hasn't yet developed enough filmmaking savvy to juggle so many intellectual, emotional, and narrative elements. He's clever and ambitious, but perhaps too much so.

What makes the movie powerful is Timoner's decision to structure it via Taylor's perspective on his competitor, with no holds barred.

Absorbing.

The screenplay is overwrought at times, but the acting is superb by any standard.

Informative documentary about the recent history of efforts to legalize gay marriage, tying these in with the history of marriage as an institution.

Spooky, atmospheric tale.

One thing few will disagree on is the quality of the film's acting, especially by Gael García Bernal as Guevara and Rodrigo de la Serna as his friend. Both effortlessly embody the footloose, sometimes feckless quality of this "On the Road"-style adventure.

Hearing her speak her finely honed mind in unscripted, un-"handled" terms is worth the price of admission in itself.

Breillat is a smart, serious observer of sexuality's often disruptive role in human life, but this existential drama is sadly pretentious.

The humor is more childish than raunchy, but it's interesting to see that becoming a big-time Broadway impresario hasn't led Waters to sell out his affection for gross-out gags.

The movie's heart is in the right place, but it looks and sounds regrettably bogus.

Thai filmmaking continues its renaissance with this moody, offbeat drama.

While it's not a great movie, it's a revealing study of how long it often takes for businesspeople to realize they're being freaked out, not flattered.

Bataille was a serious philosopher as well as a sensation-seeking writer, but you'd never guess his provocative ideas from this updated version.

Crass and soulless.

Well acted, handsomely photographed, a bit too long.

Leaving aside Huston's bland acting and a few other flaws, Sayles's politically charged drama raises a rousing number of issues and ideas, inviting us to ponder them and draw our own conclusions.

Ingeniously crafted with flashes of intelligence, if not very memorable.

This is a funny, sad, stunningly smart movie about the end of movies, made in Tsai's inimitable, unblinking style. No movie lover should miss it.