Lots of movies deal with friends and lovers of a certain age growing apart. But few can hear, as Thraves does, the sound of death chains rattling in the background.

The film's bemused but genuine respect for the ingenious obviousness of a bygone cinematic language is quite moving.

Has its own sense of logic and integrity that demand a kind of begrudged respect.

Has moments of terrific lucidity, even brilliance.

Before it finally twists itself into a pretzel in the third act, this paranoid thriller creates a scary mood and allows its leading actors to go all the way with it.

Its honesty and insights are refreshing.

A crowd pleaser, but there's something a bit prim and pre-determined about its conclusions.

Slow and depressing, but ultimately haunting film.

A dopey but sweet-natured I-love-to-dance film, fits nicely into the downhill-since-"The-Red-Shoes" tradition of ballet movies.

As he did in "Run Lola Run," he has clearly patented an original combination of cinematic eye and ear candy and a profound, irresistible fascination for the role of chance in this world.

By no means any kind of masterpiece, but viewed as one might any number of American or European independents of similar theme and nature, it not only stands its ground, but is at times one or two notches better than many of them.

One sour note is Richard Marvin's derivative score. It's just awful and often pulls the movie down.

The story moves beyond the limitations of its setting, transforming itself into an affecting parable about the lengths to which parents will go to protect their children from trauma, cruelty and knowledge of evil.

Has a real sense of the wonder of the early years.

Surely, there will be audiences that see South Park as one of the signs of the coming apocalypse, which may be exactly why another audience finds it so ruthlessly, irresistably funny.

Gorgeous and troubling.

A class act, from top to bottom.

Raucously funny.

For all the cynicism on the soundtrack and the occasional lapses in tone, this is a remarkably generous comedy.

Fascinating.

Nearly the perfect balance between straight-faced pulp action and amused wonder at the outlandish world of comic books.

Beautifully shot, full of lush, vibrant colors and expertly wrought sets...a club-kid's frothy date flick.

For all its flaws, Fantasia 2000 is certainly something to see.

Bulworth shoots along with great vigor, and its non-politically correct jabs are occasionally exhilarating.

But it's the boy and the dog who make My Dog Skip resonate. The formula may be an old one, but it's still a good one.

Thanks to solid performances by Damon, Williams, and Driver, the story glides by on charm.

An acerbically comic fable.

Breaks virtually no new narrative ground, yet treads the familiar territory it does cover with grace, style, wit and fun.