Singleton may spend the rest of his career chasing the kind of critical and commercial success he won at an early age with "Boyz N the Hood". But even if Rosewood fails to meet that standard, it is a film that reaffirms that depth of his talents.

Packs an unexpected emotional wallop. Gavin Hood's film tells a story of violence and redemption that's even more remarkable when you consider that neither of the lead performers had ever acted in a movie previously.

We're in for a long, unpleasant, reactionary ride.

There could have been life in the material, but no one involved save Hurt and Collins seems to have taken the time to find it.

Too much attention to art-deco detail, a meandering story that hesitates whenever it wants to touch an emotional chord, then squanders the opportunity with an eccentric line-reading or an extravagant camera angle.

Klein's the perfect actor to play Howard--a man so actory he probably signs his checks in that thin movie-poster type.

What could have become a heinous TV movie instead delivers the moving and relatable experience of being an emotionally overburdened person stuck in a world that mostly sucks.

Most of it--ranges from very funny to hilarious.

Moviegoers bewailing the absence of literacy and shallowness of character they usually get for their seven bucks need look no further than this fluent and satisfying triptych for a source of hope.

There's so much EFFORT here to convince us of the switcheroo (already one of Hollywood's oldest ploys) that we soon weary of it.

But except for a few missteps, the movie is so beautifully and sensitively rendered in its particulars, in its characterizations of soldiers and officers, and in its dramatization of a nearly miraculous event, that the result is an affecting piece of cinema.

For many, eXistenZ will probably be more trick than treat. But the film epitomizes the phrase sui generis ("of its own kind") and still maintains a wry attitude toward itself.

Why don't we see this kind of thing on the news every night? Undoubtedly military censorship comes into play, but probably more so it's the prevailing notion that talking-head shoutfests stacked with pundits bring in the ratings, while actual field reporting costs more money.

This is a deeply disturbing (if not very satisfying) view of what happened at Columbine and in other school shootings.

It's hagiography, yes, but also powerful and poignant.

Aimed at the brain, when it should have been one for the heart.

In Your Friends and Neighbors, LeBute is having a high old time giving himself the creeps. For the rest of us it's all kind of...well...nasty.

It just feels like the real thing, which is a trick few writers can muster and even fewer directors can master.

As surreal as it is obscene, as clever as it is crude. It plays like some raw offspring of underground comix and the comedies of the 1920s.

The setup's a bit reminiscent of "The English Patient" -- except that Beart's much easier on the eyes and ears than Ralph Fiennes is -- but Strayed is even slower moving, if you can believe it.

Supremely enjoyable.

As another exposé of stubbornness, petty opportunism, and greed, there's some residual value in the story of two unappealing characters.

At last, his (Howard's) first great (and filling) movie--inspirational, yes, but far from hokey; moving, absolutely, but never saccharine; and gripping, despite its being a fixed fight.

Even in Las Vegas, which is possibly the most irrational place on earth, drama demands a bit of dramatic logic. Romantic fairy tales just don't play well on The Strip, despite its fake Eiffel Towers, bogus Italian palazzos and strike-it-rich fantasies.

The movies' time-honored old-man-and-boy theme has rarely been used to such great advantage.

In this, Lee's most ambitious and successful work yet, his celebrated gift for psychological shading and complexity is on proud display.

Keeping the mood dry, Ozpetek and his very resourceful leading lady keep the proceedings from turning into an Almodóvar version of Mary Worth.

Allen produces a lovable, relaxed--although not uproarious--comedy.