A brooding, stunningly realistic portrait of familial self-destruction that raises far more questions than it can possibly answer.

The results are far more real than MTV's The Real World.

Just try not to smile while watching Jump Tomorrow.

Startlingly vigorous and entertaining piece of work.

This bed-swapping crime story is ultimately too protracted, but Piñeyro's direction is richly atmospheric, full of noir shadows and strong period detail.

Has storytelling rambles and lapses that no amount of electrifying jump-cuts and original image-making can compensate for.

This fictionalized, frequently stomach-churning biography of Australian criminal Mark Chopper Read features the most bloody ear-severing scene since "Reservoir Dogs."

Born Romantic feels less like it was born than assembled, in a kooky Britcom factory. It's no "Four Weddings and a Funeral," but it's certainly a happier conception than last month's "Maybe Baby."

For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough.

A remarkable debut, and its first half is a genuine jolt.

A smart, sometimes pissingly funny romantic comedy that is also oddly unmoving and predictable in spots.

Likable, but frustratingly lazy, Ghost Dog has coolness running all through it, but little substance.

In spirit, 101 Reykjavík is so Almodóvar that it could melt the polar icecap.

Come Undone is the quintessential gay date at the art house.

Combining a seething physicality with enough weary nobility and tightly checked rage for a dozen wronged heroes, (Crowe) provides the movie's vital center of gravity without looming over his co-stars.

Assiduous, temperate, and a lot more honest about government and politicians than any other Hollywood film of the last few decades, Thirteen Days is nevertheless too little, too late.

Elevates the horror genre with a refreshing intelligence and humor -- too bad it's not half as good at generating scares.

Ultimately too slight and opaque to inspire much ardor.

As talented as Polley proved herself in "The Sweet Hereafter" and "Go," this is her best work yet.

For a modest film, however, Too Much Sleep is a modest surprise.

Billed cleverly as a comedy from the heart that goes for the throat. If only Brooks had had the guts to avoid the schmaltz.

Despite terrific comic acting...and an atomic first hour, Fight Club makes a few wrong turns and ends up lost itself.

As an audience member, you end up feeling like a sucker for even having tolerated that sickly sweet notion about a father, a son, and their silly radio.

Plays like a Chinese "Cinema Paradiso," full of feeling without succumbing to sentimentality.

Provocative but lame-brained polygamy comedy.

Worth navigating for its refusal to play to the crowd. There's certainly nothing safe or sweet about Weaver's performance.

Just another basketcase with a blade.

A fast, funny film that goes down like a cyanide-spiked piña colada.