Dench is wholly extraordinary in a characterization that is frequently muted, literally and necessarily.

One expects more from writer-director Wes Anderson (and his co-scribbler, Owen Wilson) than such frivolous fun that bears no lingering effect.

A modest, uneventful film, buoyed by fine, albeit low-key, performances and the ring of truth.

Manages to be both astoundingly derivative and reasonably entertaining at the same time.

Although frustratingly confusing -- often the viewer can't be sure who is on which side or why -- the film brims with physical grandeur, exquisite costumes, and a captivating performance by Blanchett.

Very charming and funny movie.

With all its hip-hop and jive, Bulworth may seem new-style -- but actually it's proffering a populism that Frank Capra would have loved.

It's the most uplifting movie of a numbing year -- a feel-good film full of songs about feeling god-awful.

Roll with any stylistic difficulties you might initially have, and prepare to be awed.

This is a highly original film blessed with fetching complications all its own and some hair-raising turns of plot.

For a general audience the entertainment factor is quite low. The project may best serve us not on the screen, but in a time capsule.

It's either the world's greatest infomercial for fame (and its omnipresent companion, notoriety) or the saddest eulogy of all.

Perhaps the most remarkable aspect of About a Boy is how substantial it plays -- as a feel-good film with weight, a knowing comedy with dramatic depth.

There are a couple of technical rough spots, but this daring film challenges most widely held notions about religious conviction while providing a complex portrait of an identity crisis that's run amok and a good mind that's jumped the tracks.

Offers both a gentle humor and a sly but unmistakable optimism about what life in Iran might one day be.

Surprisingly manages never to grow boring -- which proves that Rohmer still has a sense of his audience.

In the end, Code Unknown is a puzzle with no obvious solution.

Doesn't just kick your ass. It pummels your entire body; it leaves you trembling.

If you like being scared, you should have fun. Bring a date to hold hands with.

By the time Sprecher's skeins, set forth in 13 related episodes, come together, we've got as clear a view of the big picture as we got assembling the elements of "Nashville," "Lantana" or "Magnolia".

Too bad it commits the crime of being so intensely average, because what could have been sensational turns out to be merely this week's heist movie.

Though the film came out a year ago in the U.K., the timing here is unfortunate, and one has to wish that, like so many bigger productions, Liam could have migrated to a more-distant release date.

In the realm of B-movies about messing with nature, it's as enjoyable as "Frankenstein Unbound," and unlike, say, "A.I." it's intentionally creepy. It's also occasionally masterful.

While it's crucial to preserve and make available every bit of available footage of such an earth-shattering event, it must be said that Rosenbaum's film manages to become slack and uninvolving after a while.

The two lead performances are so good it contains more emotional depth than it probably has a right to.

Not to be missed.

Beautiful to watch and universal in theme by any name.

There's an eerie coolness to this film that's quite unsettling and un-Oshima-like. Rather lengthy, it requires patience. But adventurous moviegoers aren't likely to mind.