The ending leans to soap opera, but Van Sant, revisiting the closet-genius theme of "Good Will Hunting" is too keen an observer of character to let this funny and touching film go soft.

Draws an electric performance from Peter Mullan.

All the Old Knives is brief enough, politely suspenseful enough, for its stars to carry without much hassle.

The Photograph comes down with a teary case of "The Notebook," laying on flashbacks that yank us out of the present, where our stars live, and into a past riddled with sentimental clichés.

We have plenty of information about the idea of the Notorious B.I.G., but Biggie: I Got a Story to Tell offers a rare look at the actual human being behind the legend.

Fall is a straightforward survival thriller with just enough personality to glue you to your seat.

Down in the mud with the guys, Moore finds the heart of her character and a career beyond vanity and hype. She's never looked better.

It's still a first-class charm assault.

Despite the lofty tone of his literary, artistic and metaphysical allusions, Greenaway is working the same streets of human depravity as John Waters; he's just more pretentious about it. At best, Greenaway's film is a provocative and diabolically funny foray into the roots of passion and cruelty. At worst, the symbolic bric-a-brac gets so thick you lose sight of the characters.

The Wachowskis have put together a mix of culture, kung fu, sci-fi and speculation, that makes them the warped wonders they are. When the film ends with a "To Be Continued," the hooks are in for The Matrix Revolutions on November 5th. Maybe I've been programmed to say it, but I am so there.

It’s decent if often frustrating debut, buoyed by a star that’s shouldering a lot of the needlessly complicated narrative burden. We can’t wait to see what Tøndel’s fourth film looks like.

It's hysterically, gut-bustingly funny.

In the end, it’s not just that you’re watching a satire sans teeth — it’s more like you’re sitting through a version of Shattered Glass where Stephen Glass feels kind of bad about all those stories he made up.

Blazing performance will burn in your memory. Same goes for the film.

The Woman in Black doesn't break new ground, but in its suggestions of fine film ghost stories, from "The Innocents" to "The Others" and "The Orphanage," it works you over with riveting restraint.

A rip-roaring action adventure.

Fanaticism is Dannelly's target, not faith. That's what makes his film a keeper: It sticks with you.

The role is a beast, and Cranston, in a tour de force of touching gravity and aching humanism, gives it everything he's got. It's astounding to watch, and an award-caliber performance from an actor who keeps springing surprises.

Amid the clamor from outraged purists and Shakespeare spinning in his Stratford-on-Avon, England, grave, you should notice that Luhrmann and his two bright angels have shaken up a 400-year-old play without losing its touching, poetic innocence.

Though Exit is often bold and imaginative, it is also curiously lifeless. The screenplay, by Desmond Nakano (Boulevard Nights), which combines the novel’s six separate stories, never adds up to a coherent whole.

Drags and sags at 124 minutes. Luckily, the movie never runs on sitcom empty. How could it, with a terrific cast.

Reynolds is like a puppy dog who moonlights as a male model, or maybe vice versa. He’s the only reason to see Free Guy, but you already know this going in.

Hart is a comic fireball. Don't leave till after the final credits when he and Hall bust a few more hilarious improv moves.

Bridges in particular is quite excellent, taking his character's surface sweetness to at times almost psychotic extremes.

In the case of Una, the play's the thing, with the stage production coming at you in a rush that doesn't allow the characters or the audience to take a breath. In this personal hell of Harrower's creation, there is no exit. The movie, however, keeps opening the door and letting the air in.

The best hip-hop film of all, taking on obvious targets (misogynist lyrics) and sacred cows (political rap) alike.

Plane is, in essence, the Frontier Airlines of action films: It’s cut-rate to a fault, makes you endure a lot of unpleasantness on the way to its final destination, and still leaves you with the distinct feeling that you didn’t even get what you paid for.

In a perfect world, viewers would get college credit after watching Lynch/Oz. You may not walk away any closer to a degree, unfortunately, but you will definitely land over this rainbow with an entirely different view of a maverick filmmaker’s work, as filtered through Hollywood canon fodder.