Doesn't always deliver on its twists. But it works well enough that an American remake is in the works.

The drawbacks to this often rhapsodically beautiful film lie not in the journey itself, but in the preachy detours taken along the way.

The chatty killer and the nervy atmosphere are both so depraved that the film, though it contains hardly any explicit violence, is like stepping into a blood Jacuzzi, and there is a biblical severity to the ending.

The low-low budget ($50,000) coming-of-age drama, shot on high-def video, is nothing if not daring and innovative.

You need a scorecard to keep track of who's bedding whom in Happily Ever After, a tres French take on sex and love, in that order.

That is not an original idea, for sure. But the ensemble cast -- especially Tatou as a 24-year-old store clerk named Irene -- is personable and the Parisian ambiance is catching.

Gandhi did save India from the British, but he didn't save India from the Indians, and the horrific subjugation of widows continues there even today. It was only 10 years ago that Mehta encountered the Hindu widow who inspired her film.

There are affecting scenes, and not all of Cacoyannis' additions to the Chekhov text detract from the effect of its moving brilliance.

Enough SpongeBob-meets-Monty-Python silliness to give adults a kick as well.

It's fascinating and moving all the same, both in its depiction of Iranian daily life and in its powerful portrait of female oppression.

A sitcom with enough big laughs and emotional truth to get audiences past awkward pacing and some slow spots.

About 30 minutes too long and somewhat clumsily executed, this zombie's-eye-view story still manages to evoke the comic and splattery spirit of the best '80s cult horror flicks (and features a car-horn shout-out to "The Lost Boys," to boot).

This is a slickly entertaining package, beautifully photographed on well-chosen locations with an unerring sense of pace by Gregory Hoblit.

It’s a swift, vivid movie, but 10 years past the scandal, not much is new.

Give Boyce and Boyle credit for daring to be strange, but this enchilada is so overstuffed, it's falling apart.

Director Francisco de Lombardi fills his sensual film with plenty of gorgeous shots of the lush landscape and its equally exotic, miniskirted "fauna."

I’d have been curious to see more about Reddy’s interactions with the women’s movement, but the film mostly has room for this one woman. Thanks to Cobham-Hervey’s performance, it’s an engaging, if fairly familiar, story.

Despite the high quality of the acting, Spring Forward is for the most part sleepy, long-winded stuff.

Never much more than hagiography that lets the context of its hero's death remain confused.

A surprisingly edgy comedy.

It's like your appendix - you'll never even miss it.

It's high-spirited, innocent fun.

Poetic but tedious and all but plotless.

How the feds inadvertently resurrected the performing career of stoner comic Tommy Chong by busting him is the ironic subtext of Josh Gilbert's one-sided documentary a/k/a Tommy Chong.

A serviceable animated movie about a soft-hearted Dracula.

Visually, this toon is all over the place. Rapunzel's glowing hair can look alarmingly like fiber-optic cable, but some backgrounds are the computer-generated equivalents of Disney's golden-age work.

This Disney film is all pretty simple, with messages about bigotry and ignorance, friendship and growing up. But at least they don't hit you over the head with them.

The documentary tries to pin Africa's suffering on capitalism, but dances around the real problem. Africa starves because corrupt governments own the natural resources and export them to buy weapons to keep their people at bay.