What do you get when you mix a Douglas Sirk melodrama with a Sergio Leone Western? Tears of the Black Tiger, a high-camp Western from, of all places, Thailand.

The actors can't escape the confines of the warmed-over, coming-of-age-in-suburbia script by Mills, from a novel by Walter Kirn.

May be the most fun you'll have at the movies this summer.

Science fiction movies don't come much more ponderous than the beautifully filmed Never Let Me Go, which reduces the debate over genetic engineering to a mild, moist romantic soap opera.

The conceit is slight, but Hong's playful structure conceals sharp observations about fantasies, communication, and how foreigners and natives interact.

This is a serious movie overflowing with memorable acting, unforgettable images, searing tragedy, unexpected humor and an eloquent plea for international understanding. And while it's by no stretch of imagination light entertainment, it's fundamentally a more optimistic work than either "Amores Perros" or "21 Grams."

There can only ever be one Bad Lieutenant: Harvey Keitel. In Bad Lieutenant: Port of Call New Orleans, Nicolas Cage, pretend tough guy (Malibu accent, long floppy coiffure, nervous smile), is more like the Bad Used-Car Salesman.

I wouldn't want to see five movies like this one each week but it's a cheeky, madcap joyride.

You can't help wishing they'd thought a little further outside the box.

Boisterously amusing.

Gripping and even-handed film.

The film has all the visual flourishes we expect of Doyle and Wong, and they're reason enough to see Ashes of Time Redux. Just don't expect to make sense of the plot.

From the rapid-fire, purposely unreadable opening credits to the final baby POV shot of a birth, this is a dazzling and brutal exercise in cinematic envelope-pushing.

Winslet (Mendes' wife) once again demonstrates why she's one of the best actresses working today.

Willis, who at 52 looks great in an intensely physical role and can still spit out wisecracks and insults with the best of them.

A wry, "Rashomon"-like tale.

Excellent performances are given by all, with Alidoosti, who has the face of an angel, once again a wonder.

The result is a thoughtful, dreamlike (at times, nightmarish) tour through the day-to-day lives of several suburban California teens.

This is a true story, and at times a gut-wrenching one, even if it necessarily sugarcoats some aspects of the plight of lost children.

Beaded with amusing moments.

As Mark Twain didn't say, reports of the death of mumblecore are greatly exaggerated. As proof, I offer Andrew Bujalski's wise and wondrous Beeswax.

The very German lack of emotion is so acute it can be hard to tell when Hausner’s playing for laughs, but Friedel is hilariously — if morbidly — tedious as the tortured writer whose pickup line is, “Would you care to die with me?”

Ron Howard's bio-pic is an Oscar-baiting fairy tale that manipulates the audience at every turn of the clich.

I was surprised to find “Cameron Post” a sweet indie film in the tradition of John Hughes. Calmly directed by Desiree Akhavan, the movie doesn’t get tangled in the weeds of politics, but instead focuses intensely on its lovely characters.

Freddie Mercury may have had the better voice, but it’s Elton John who gets the better movie. Rocketman, director Dexter Fletcher’s trippy new biopic about the flamboyant rocker is braver, deeper and more enlightening than last year’s slobbering piece of Queen propaganda “Bohemian Rhapsody” (which he also partly directed).

The best thing Baldwin has done in years, and a triumph of low-budget storytelling by a director to watch.

an infomercial for death starring Townes Van Zandt.

The only thing missing is the mud that the big boys love to sling. But the Stuyvesant candidates are kids - give them a few years.