Coppola sure knows his late-'60s cinema and he's meticulous in reconstructing the style of the era.

Actually more entertaining than its 1994 predecessor.

The omnipresence of oddity in The Future dilutes its charm: A T-shirt creeps around on its own, a little girl likes being buried neck-deep in the backyard. Whatevs.

This is a Disney adaptation, beautiful but frequently treacly.

Kim Basinger gives one of her strongest performances in Even Money, a kind of "Crash" fueled by gambling instead of racism.

Keaton's overamped girlishness, and the adolescent shenanigans she engages in, make a mockery of this overlong romantic comedy's stance as a celebration of mature love.

While the film contains some terrific, realistically bloody battle scenes, it has a distinctly Germanic feel, both in its epic heaviness and in the peculiar way it revises the history of the American Revolution.

France's François Ozon's 5 x 2, which resembles Ingmar Bergman's "Scenes from a Marriage" told in reverse, could be played for laughs, or suspense -- who killed this marriage? -- or with the rueful irony of Stephen Sondheim's backward musical "Merrily We Roll Along."

A slight movie. But it has its share of charm and is a pleasant way to spend a little over an hour. It also is a sign that Burns might actually have talent.

The “Transformers” hottie undergoes her very own transformation here, thanks to satanic possession.

By far the best thing about Pitch Black is the cool-looking lighting and photography.

At a little over an hour, Silent Souls is hardly long, yet the camera's repeated focus on the wintry, gray country road they're traveling can feel somewhat ponderous -- like life itself, as one of the guys in the film might wryly point out.

Some of the plot points are confusingly vague, the tone lurches wildly between genres, and the film's epilogue pushes the bounds of believability - but The Hard Word could never be accused of being predictable.

Intrigue doesn’t begin until the last third of the movie, which is by far the best part. The Victorian melodrama in Effie Gray works better than the Victorian suffering.

Too strange and disjointed to attract much of an audience, but its astonishing visuals showcase a major new talent: first-time feature director and book illustrator Dave McKean.

Watching it is like being the only non-stoned person in the room as someone tells a long, long story.

At last, someone has figured out that there might be laughs in teens trying to lose their virginity.

A protegé of Gus Van Sant, Archer -- who also makes short films and music videos -- has a wild imagination he has trouble harnessing. He doesn't know the meaning of "too much." But Barkin, in short, blond hair, is superb, as usual, and Aaron Platt's cinematography is stunning. Here's hoping Archer gets his s - - t together in feature No. 3.

The central narrative is ultimately too one-dimensional to sustain interest.

If you want an introduction to the director's work, you're better off with "La Belle Noiseuse" (1991) and his masterpiece, "Celine and Julie Go Boating" (1974).

The minimalist style keeps the suspense warm. The movie is unusual among teen horror flicks in that it largely avoids the usual cheap thrills and bursts of scare music. Instead, it carefully repeats isolated images and sound bites until they take on a shivery power.

If it's violence ye seek, and violently confused storytelling, look ye no further.

Japan’s loony suicide culture seems like an adequately scary backdrop for a horror movie, but the routine horror flick The Forest mostly settles for cheap thrills.

A family-friendly, Hallmark Channel-ready musical dramatic fable whose plot more closely resembles Spike Lee’s “Red Hook Summer.’’

A visual treat diminished by lifeless dialogue and self-conscious acting.

Although deft editing provides neat segues, "Safety" suffers from a case of too many dramas, too little time. Characters are given no chance to develop and, too often, their behavior turns on a dime, hurtling off into a parallel universe of extreme acts.

Frey's harrowing depiction of this milieu transcends the indifferent acting and contrived plot.

A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.