It's an original, and a gamble, and one of those movies that works better than it should, despite considerable flaws of conception and execution.

If Schwarzberg had chosen to concentrate on eccentrics, rural artists or people like his New York bike messenger, female aerobatic champion and California cliff dancer, "Heart and Soul" would have been a much more interesting film.

Pleasing to the eye, with lavish sets, ravishing costumes and two great-looking stars. Unfortunately, there is little else to recommend this overwrought, melodramatic bodice-ripper.

The debut film of Brandon Cronenberg deals out shivers and flinches in little hypodermic jabs.

Sometimes beautiful to look at but ultimately too poetic for its own good.

Credit Westfeldt, who is also the writer and director, with a classic setup for farce, brightly executed.

Detour does a fine job of giving drivers yet another reason to stress out, but that anxiety doesn’t extend to its hero’s fate.

This warped masochistic cousin to David Cronenberg's "Crash" - not to be confused with the Oscar winner of the same name - is well worth seeing for Farmiga's stunning performance.

Deploying an impeccable American accent, Brit Henry Cavill may be as charming as the late great Christopher Reeve.

All are subjects worthy of discussion, but tackling them in one film disrupts the movie's momentum and shortchanges viewers. Baichwal could have devoted a single film to just BP's disgraceful behavior.

Travis, making his feature debut, gets very likable performances out of his female stars. And it's nice to see sex given its due as a wide, wild buffet rather than the standard missionary, bra-on fare we're usually served in a rom-com. Mmm-hmmm!

Unless the director was aiming for a Victorian "Black Christmas," though, he overshot his mark

Relentlessly grim.

The movie has the feel of a weary business trip.

The more serious Potter gets (there are several earnest soliloquies about dirt), the harder it is not to laugh.

This is a sexy, funny, ravishing and dark revision that keeps Heathcliff’s frightening obsessiveness, emotional toxicity and sadism intact while ably contorting the tale into a decadent, modern, yet still distinctly gothic, romance.

Ritchie is tops when it comes to getting a group of guys (and, occasionally, gal) together to complete a bloody, belligerent task. And this is as taut an ensemble of his as ever.

Instead of trying to make Austen's life entertaining by pretending it was just like her work - as in the dull recent French movie "Molière" - Becoming Jane has a more astute appreciation of how Austen, or any fiction writer, works. There's a bit of stealing from life, lots of exaggeration, some wish fulfillment, mix-and-match character assembly.

A flawed drama offering a rare look at the Catholic Church's canonization process.

A test of endurance, and not just because you need a rather stronger word than "explicit" to describe this long-unreleased, self-consciously provocative film.

A rather crude affair that feels like a student film, due to performances that often lack conviction and would-be "street" dialogue that rings false.

Director and co-writer Lexi Alexander choreographs the fight scenes with thrilling chaos, and the plot unfolds expertly if melodramatically.

Ang Lee's Taking Woodstock achieves an amazing feat: It turns the fabled music festival, a key cultural moment of the late 20th century, into an exceedingly lame, heavily clichéd, thumb-sucking bore.

Driven is a lot like a DeLorean: Looks great, but moves slow — if it even moves at all.

A long slog through ancient muck, so-so sword fights and dumb luck.

Good acting and some very good scenes don't quite add up to a good film.

Although the film can be a tad unrelenting, it’s highly watchable.

The movie fails to add up to the sum of its laborious parts. There's no emotional investment in any of the characters, and you can see the writer-director's windup con coming a mile away.