One of the glories of the film is that Ramsay keeps us rigorously to Morvern's point of view without ever being explicit about what's going on in her head.

While the movie is frequently sharp and funny and weirdly relatable, the material feels too much like reality.

This is a beautiful, important film, and you should see it.

Ought to gain some viewers here with its dark sense of humor and stylish cinematography by Jan Malir. Director Jan Hrebejk names Mike Leigh as an influence, but frankly he's way cooler.

In short, it's a rich, artful film, slightly overlong but worth the time, money and energy required to get through it. Art? Definitely. Entertainment? Not so much.

A brilliant piece of garbage -- mesmerizing, but only because you can't believe someone has the temerity to put so much into so little.

An affecting film, but it just may not be everyone's cup of cyanide.

It's the best thing Wong has done in years--perhaps ever.

The inspiration appears to be equal parts "Looney Tunes" and Capcom video games like "Street Fighter II." All the energy that was missing from the recent "Mask" sequel is here, and then some.

A fun and loving biopic

Because the filmmakers have skewed the story into a Donnie-Lefty lovefest, the breakage of their trust signals the breakage of Donnie's spirit even in triumph. Case closed. It's the kind of fade-out we might expect from the it's-all-hopeless era of '60s counterculture movies. It's emotionally effective, but also a cheat.

[Coppola] understands the crisp, oblique horror and wistfulness of Eugenides' narrative, plunking down five enchanting princesses into an environment that is anything but magical.

A reasonably entertaining -- and occasionally very moving -- picture.

Brian's brilliant, saved itself by benefactor George Harrison, who ponied up the budget of 2 million pounds...simply because he loved the script when industry bigwigs turned characteristically chicken. Its overall irreverence proves a lasting balm for the ages. Thank you, Pythons, for setting such a high and enduring standard.

The star's the thing, the only thing, and he's brilliant at playing a thinly veiled version of himself.

In many ways, The Devil and Daniel Johnston is a beautiful work, a painstakingly crafted portrait of a talented self-saboteur--a man consistently done in by a vicious mental illness. But it's not as compelling as one would hope.

An indictment--a prime example of promising material that's been Cruisified.

A trifle at best, a lightweight, wink-wink amalgam of myriad other films, some of which have even starred Chan and Wilson.

Jones and Pepper are no Eastwood and Wallach, but the fact that one even thinks to make such a comparison speaks highly of the work here.

A remarkable movie, because, like "Crumb" or even "American Splendor," it adores the very people most of us might ignore if they passed us on the street. It's a love letter to someone who desperately needs one, even 10 years after his death.

Whether or not you like this film may depend on how much interest (or patience) you have for the antics of a self-proclaimed prophet.

Inside Man is irrelevant, another semi-high-tech mega-heist movie, the rhythms and tropes of which we are all as familiar with as we are with the wallpaper facing our toilets.

Makes good use of its actors.

It is that rare find: a film that is as emotionally truthful as it is satisfying.

A true killing comedy would require a great deal more sophistication than first-time writer-director Peter Duncan brings to the party. He hasn't made a black comedy, really; it's more like a black spoof.

Good, goofy fun, but given the attendant hype, there may be a danger of excessively high expectations from horror fans.

Gaghan's a filmmaker for the gamer who doesn't need to have the plot follow a neat, linear path. Besides, you don't need to know precisely what's going on; no one else in the film does either. Which is Gaghan's point.

Karen Moncrieff makes an extraordinary debut as a feature film writer and director with this observant drama about a budding teenage poet who, amid many traumas, finds the courage to become herself and set out as an artist.