It's just another discordant note in this tone-deaf movie -- a trashy, exploitative, thoroughly unpleasant experience.

Juliette Binoche and Benoit Magimel have great chemistry together as the lovers, and the scenes of their lovemaking and frequent battles bring the movie to life. Outside of those moments, however, the film is too stagey, talky - and long - for its own good.

Culkin is superb - he makes you forget that Igby is a spoiled brat who actually deserves the beating he gets.

Combines big laughs, a big heart and thoroughly winning characters to become the first big surprise of the fall season.

If only "reality" TV was as realistic as Quitting.

Stinks even by the standards of late summer movie garbage.

A riveting documentary.

Instructive, cathartic or just too painful? You decide.

A game and often quite funny attempt with an expert cast.

A murky, vaguely fact-based melodrama that quickly sinks into the same swamp as such recent De Niro mistakes as "15 Minutes" and "Showtime."

Think of it as the rantings of a grouchy old man (he's 71) who for half a century has resisted all efforts to dumb down his movies, insisting instead on making them HIS way and no other.

About two-thirds of the way through, a stupid, hyperbolic sensibility takes control of the project, running it screaming off the rails.

Compelling but self-undermining documentary.

Vivid visuals can't save an insipid plot.

A low-rent, slow-witted horror flick notable chiefly for its hilariously unsuccessful attempt to pass off Luxembourg City as New York City.

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.

A challenging experimental film that will never play in a commercial movie theater and is settling in for a two-week run at the ever-venturesome Film Forum.

Basically the Mike Tyson saga reduced to its B-movie essence.

The title is to be taken figuratively, not literally -- is a top-notch study of family angst.

Daring, mesmerizing and exceedingly hard to forget.

Apart from some irritating and redundant camera tricks early on in the film, director Blair Treu plays it white-bread straight, delivering an uncommonly inoffensive, after-school-special-style teen flick.

Its bawdy honesty eventually gives way to convention, sentimentality and a frustratingly silly ending.

Even dumber than Perry's "Three to Tango," this latest sitcommy exercise is sporadically funny in spite of itself -- and not quite as dreadful as you would suspect.

Staggers between flaccid satire and what is supposed to be madcap farce.

A sensual performance from Abbass buoys the flimsy story.

Williams triumphs by exceeding both in sheer actor's craft - and the depths he plumbs in his character's tortured soul.

So unremittingly awful that labeling it a dog probably constitutes cruelty to canines.

Surprisingly smart and satisfying.