While “Murder On The Orient Express” and “Death On The Nile” were hack-job excuses to force as many disparate and ghastly celebrities onscreen as possible, “Haunting” is an actual, surefooted film with strong performances and a luxurious-yet-frightful tone.

You are unlikely to see a movie about incest made as sensitively and tastefully as Womb. And although the characters speak English, the film is firmly anchored in European sensibilities, thanks to its Hungarian director, Benedek Fliegauf.

See it - if you dare.

The supremely talented Florence Pugh has rapidly rebounded from the “Don’t Worry Darling” debacle with The Wonder, a creepy new Netflix drama that’s unusually strong for the streaming service. For once, it’s the characters who endure hardship — not the audience.

Moves along its tranquil way until about five minutes before the closing credits, when it turns into a terrorist thriller.

The sex, nudity and violence are nonstop, but that's what makes Headhunters exciting entertainment. See it before the Hollywood remake, possibly starring Mark Wahlberg, gets it all wrong.

Eleonore Faucher, first-time director (and co-writer) of the French charmer Sequins, is well aware of Neymark's allure and sees to it that the young woman is seldom out of the frame.

Through it all, Clayman struggles to keep himself, and OC87, on track - and it's easy to cheer his ultimate triumph.

OK, it’s no Frozen — a Let It Go only comes around once every couple of ice ages — but it’s nonetheless a heartfelt and joyful take on a good old dysfunctional family.

Depardieu's days as a leading man might be over, but he has a bright future in quirky roles like Germain.

Yes, The Secret Life of Words owes much to Lars von Trier's 1999 "Breaking the Waves." But Coixet's riff stands on its own thanks to thoughtful performances by Polley and Robbins.

The result is as enlightening for viewers as the journey was for Harris.

Overlong and sometimes schmaltzy — but still hugely engaging.

Red has more snappy joy in store than practically all of last summer's busted blockbusters.

A cut above the season’s other belated sequels like “My Big Fat Greek Wedding 2’’ and “Zoolander 2.’’

A fanciful little indie brimming with emo music and curious little vignettes, marks a self-conscious but very promising debut for "Scrubs" star Zach Braff.

So deftly does Turn Me On, Dammit! approximate the experience of small-town teenagerhood that occasionally its slowness can frustrate.

Patrick Stewart has a blast playing against type as a soft-spoken white supremacist holding a punk rock band as his temporary prisoners in Jeremy Saulnier’s nicely crafted, low-budget comedy-thriller.

For all its wit and intricacy, the film is often ponderous. [31 Dec 1999, p.038]

The subject is touchy, but Gund handles it with taste and compassion.

It's a funny and occasionally poignant movie.

Joshua falls a bit flat at the end, but overall it delivers some genuine old-school chills - something that was missing when Macaulay Culkin played a similar role in "The Good Son."

Its "I see dead people" premise is shopworn, but Hong Kong brothers Oxide and Danny Pang manage to deliver real skin-prickling jolts with their minimalist horror film.

Zalla constructs a suspenseful movie with no intention of sugarcoating the daily hardships of New York's underclass.

Hollywood's umpteenth tale of robots run amok is surprisingly smart, cool-looking, nicely paced and well-acted.

About the only question not answered by Good Hair is whether Michelle Obama wears a hair extension (most come from religious ceremonies in India) or straightens her hair.

The most gut-bustingly funny movie so far this year.

A wickedly sexy Daryl Hannah is particularly memorable as the Pilager family's black sheep Maddy.