The Dardennes are talents, clearly. Watching Rosetta is like watching them flip you the bird.

The movie's atmosphere is moody and intense, bubbling like a caldron. Unfortunately, the broth turns out to be stone soup.

Earnest, smart, handsome, well-acted and made with mastery.

But this is pretty honest and true filmmaking, nonetheless; try as you might, you can't detect the leer of the satirist.

The Legend of 1900 is still fresh; like the dawning of a new age, it feels like an awakening.

So sloppily and unabashedly sentimental that it can make you laugh and cry at the same time -- and often at the same things.

Banderas' direction is a bit of everything and a lot of not much.

Although it tries continually to focus on the heart, it ultimately fails to ignite it.

American teens will respond to the directness of the issues here, as well as the film's brisk and risky tone.

Conveys an almost pulseless Nora Ephron style of homespun wisdom.

Witty, treasure-filled and nostalgic in the best sense.

The atmosphere of the movie is dense and unrelieved; it's a heavy role for such a little boy, and some people won't want to watch such a bleak, monster world.

Fight Club -- cue the blurb machine -- is a knockout.

Dissects the dicey question of fidelity with all the finesse of a Veg-O-Matic and leaves us with something closer to chopped liver than broken hearts.

A near-perfect movie.

Mostly it's inspiring: to think that a man of Antonioni's years and talents is still capable of producing such vital work.

A kick to the heart, and Swank is a marvel. Any problems in the storytelling are more than balanced by her wholly committed work.

One can only hope that the parties responsible for Bandits are brought to justice and someone can stop them before they film again.

The humor sizzles.

An ugly, stupid movie it turned out to be. Incoherent, arbitrary, hyperactive and dark enough to make you fear you've gone blind.

An all-hell-breaks-loose, panicky fever of a story, all of it drenched in grainy, color-saturated cinematography.

A carnival of stupid coincidences, paper-thin characterizations, and inept staging, lighting and montage.

Agreeably entertaining, peppered with rich laughs and very nice actorly touches.

Soggy.

The moments of accidental sweetness that emerge from these odd, ultra-lives are meltingly funny and touching.

More of a bunt than a home run.

Viewers looking for a big, political potboiler will be disappointed: Check your cloak and dagger at the door. But the film does have emotional fire.

Though excellent in many ways, American Beauty is, finally, an uneasy mix of assured technique and simplistic satire.