Actually boasts a decent script with character development, a sense of pace and some well-drawn supporting roles.

A vicious, hard-core version of "Thelma and Louise," going nowhere near the Grand Canyon but leaving a trail of carnage in their wake.

Has all the crowd-pleasing elements moviegoers respond to: appealing hero, absorbing story, a solid group of supporting players and a big fat happy ending.

What saves the film from utter forgettability are the strong supporting performances, especially from Peter Caffrey as the town atheist, and Tony Doyle.

Though wildly imperfect, manages, for all its missteps, to touch on a number of important issues few gay films have dealt with to date.

This sensuous, exotic film is more like an issue of "National Geographic" come to life, rich with cultural detail and insight.

Sad to say, the story is simply too slight to sustain the film.

It's war porn, a movie that revels in the carnage.

There's nothing particularly wrong with this whole setup; it's just very by-the-numbers.

What's most impressive about this is that, if one didn't know better, the naturalism of the performances could be taken for that of a documentary.

One of those genially paced, character-driven indies, and succeeds as such very well.

A unique and striking film for at least the first two-thirds of its running time, after which it turns, all too sadly, predictable and mundane

Shrek isn't clever or smart. It just wants you to think it is, through wink after wink after wink.

This thing moves brilliantly, sparkling like nothing we've seen domestically since "The Wiz" or "Xanadu."

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.

A shame, this frenetic mess, as there were loads of reasons to be hopeful.

What's somewhat ironic about Bread and Roses is that it's bound to be more interesting to people outside of L.A. than in it.

It's composed of really long scenes that are mostly dialogue, with transition action imagined or implied only. Couldn't we go outside for at least one scene?

The prettiest Dogme film to date may be the one that has the least to say.

Smart, wry and awesome, all at once.

Quick-witted, spicy Irish comedy.

It's all a bit silly and predictable, but maybe that's the point.

Has an awkwardness that defeats whatever emotional involvement it tries to achieve.

Eureka is, quite extraordinarily, never dull.

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

A beautifully acted, carefully written meditation on one woman's grief, the enigma of imagination, the persistence of desire and -- let's face it -- the power of denial.

It punishes rather than entertains; it condescends, it offends, it loathes its audience.

This nicely acted study of a love that survived all manner of trauma is a must-see for Joyce fans, feminist historians great and small and admirers of the Emerald Isle.