The film is worth seeing for Sorvino alone. The actress hasn't been this good since Woody Allen's "Mighty Aphrodite," a role that couldn't be more dissimilar.

I still think the first is the best in the series, but I'm in the minority: Number two has a stronger following among the legions of Hong Kong movie buffs.

Quick-witted, spicy Irish comedy.

As a gallery of the grotesque, however, the cinematic equivalent of a Joe Coleman painting or Adam Parfrey publication, The Salton Sea is a blast.

Pulsates with music, dance, color and laughter, but also glows with quiet moments of drama.

Enormously appealing romantic comedy-drama.

Maybe Baby is Elton's stab at romantic comedy, and it's a strong feature debut, spiffy, quick-witted and more than a little shocking in its unflinching acknowledgement of English people having sex.

Office Space's pleasures don't really depend on plot. It's pretty much what a Dilbert feature should look like.

Ustaoglu has pulled off a rare feat in this film, enlightening us about a horrible situation while never losing sight of his central tale of friendship and loyalty.

As stirring as it is slight, as effective as it is familiar.

Sharp, smart and robustly engaging film.

Smart, wry and awesome, all at once.

The director is in fine form with The Closet, an expertly acted divertissement that may well be headed for a Yank incarnation within the next few years.

The political, social, and linguistic adjustments Parker makes to this hugely entertaining Husband give it fresh relevance without betraying the original.

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.

Washington creates an indelibly charming and terrifying character whose volatile blend of dedication and horrible expediency keeps us off balance.

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

It's a pleasure to watch these two superb actresses circle and attack, conspire and conflict in the corporate shark tank, and it's just as profound a pleasure to behold a talented new filmmaker who's managed to succeed his first time out.

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

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.

Beautifully shot and finely acted movie.

A remarkable movie with an unsatisfying ending, which is just the point.

It's basically your above-average nice drug movie.

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

Guaranteed to jolt viewers of a Norman Rockwell mentality well into the 21st century.

This is not Tsui's best film by a substantial margin, but it's immense fun.

Delivers a thoughtful what-if for the heart as well as the mind.

As a document of rockin, youth rebellion, the film lodges perfectly between "American Graffiti" and "Trainspotting."