Their chemistry as performers together is particularly noticeable, so it’s a shame more focus wasn’t given to keeping the three of them on-screen together as much as possible.

As impatient as I was with Loggerheads, I can't hate it. The sincerity of its performances is too real; its compassion for its characters is too strong. On the other hand, I haven't mentioned yet that the loggerhead is a species of turtle.

There’s just enough in Black Box to make for a mild goosebump or two this Halloween.

If you’re a big fan of the Farrelly Brothers' films, you should like Stuck on You. If their films repulse you, stay home and rent "The Hours" again.

It's a tough one to recommend to everyone. Just know now this isn't a horror film as they're making it out to be nor is it a true return to form for Friedkin. Even so, it's worth seeing but perhaps as a DVD rental further down the road.

The only obvious question that Oswald’s Ghost raises is: how come Mort Sahl wasn’t in the movie? (If you don’t get that joke, you need to brush up on your Kennedy conspiracy lessons.)

This delicately observed story, deeply felt and masterfully stylized, is a triumph for its maverick director.

Ihara and Aw’s love story feels real and plays well as represented through fine cuisine.

A Glitch in the Matrix is timely and full of mystery and wonder, but lingering on descriptions of surreal subjective experience misses the point. This would be a much more interesting movie if it had more focus on the science of simulation theory.

Throughout Sick, Williamson decisively proves that breaking all the rules sometimes breaks the movie.

Destroyer is a good film, but it is Kidman’s nuanced performance that takes it to the next level.

By turns infuriating, charming, wistful and annoying, Kwik Stop winds up a touching, if frustrating film.

May not exactly be an innovative film, but it most certainly is a lovable one.

Ararat isn't a great film because it's too convoluted and personal at times, but it's a showcase of technical mastery; the way Egoyan interweaves the stories of the historical recreation, the relationship between the son and his stepsister and the mystery of the art historian's dead husbands, is endlessly compelling.

A film that's every bit as odd, unique, and unnerving as its title character.

Will ultimately be remembered more for the trademark Anderson look than for any of its characters or any emotional impact.

Isn't nearly as fresh, suspenseful or witty as it's inaugural bloodfest, but it does offer enough blood and breasts to keep Craven and Williamson in business for a few more arterial sprays.

For a comedy, it isn't that funny. For a thriller, it isn't that thrilling. In short, it would have been a much better movie if focused on either/or.

The filmmaker, doing a lot with an extremely limited cast and location, has a concrete vision and sticks with it, and whether you get it or not is up to you. A character in the film, when confronted, states: “Big question. Too long to answer.” That pretty much summarizes this cinematic endeavor.

Still Life in Lodz is at its best when the rich history of Lodz takes center stage. There are some downright beautiful establishing shots that get bogged down by aggressively overbearing music choices and repetitive information. The amount of archive footage and animation does nothing but pad out the already minimal runtime. This type of story doesn’t need these gimmicks and grandiose moments since they clash horribly with the previously set up atmosphere.

Awfully funny, with surprisingly potent social commentary just underneath the quirkiness.

In the end, nothing about The Interpreter strikes us as very original.

Grim and frequently depressing, and despite the artistry of its framing it nonetheless is a very difficult movie to endure.

You can expect the same defecation and drug humor that crud up comedies of this ilk. Of course, its vacuity is intentional, and maybe we could always use more movies of the women-behaving-badly variety. But there’s also a real danger in perpetuating this type of teenage girl; it propagates the idea that, for women, defiance is power, radicalism is freedom, and being really hot is often all you need to survive.

Jackson gives an amazing, nuanced performance as he teeters on the edge of paranoia. Spacey gives a great, toned-down show as I guy who's in over his head trying to find out what the hell is going on.

There is nothing wrong with grade-A prime aged Angus beef, but sometimes all you really want is a McDonald’s hamburger. “Major League” is the quarter pounder with cheese of baseball movies. There’s nothing original about it, all the characters are stolen from other books or movies, but it understands the longings of a starved baseball town, and manages to wring out plenty of laughs from familiar situations.

Actually one of the better comedies I've seen this year speaks volumes for the quality of the performances and the caliber of the script.

As a violent, supernatural adventure, the film should attract both action and horror enthusiasts alike, yet Evans ends up slightly short of thrills and ambiguity, which are always valuable aspects of the genre.