Fans of "Swingers" may be disappointed. Made doesn't give us as many jazzy catchphrases to latch onto, or figuratively hoist us aloft on a giant martini glass of prolonged adolescence. But then that's precisely why it's the better movie.

I'd put The End of the Affair just beneath the top rung of Jordan movies or Greene-based films (it's no "The Fallen Idol" or "The Third Man"), with Moore the critical element that makes it necessary viewing.

In this floor-level view of the rave scene, director Jon Reiss keeps it pumping, humming, buzzing and spinning.

I can't recall the last time a picture left me feeling so caffeinated.

It's a tantalizing case study that suggests ordinary people still have the power to steer a course between faceless bureaucracies and greedy capitalists, but only just - and only if they can find a way to overcome their differences and work together.

Carrey provides one of his most whacked-out and enjoyable performances.

Fascinating quasi-documentary about Norma Khouri.

Reconstruction has a poetic sensibility, as well as an old-fashioned Continental appetite for romance, that makes it distinctive.

An art noir that courts pretension but just manages to keep from succumbing to it.

Such an exhilarating, spirited piece of work that its embellishments and omissions cease to matter.

A landmark -- the first movie to give a convincing, feature-length account of sex from a woman's point of view.

Captain America is exactly what the third week of July needed: a curiously fun, surprisingly imaginative and unashamedly old-fashioned yarn of skulduggery and adventure.

Kostic, a Bosnian actor who has done quite a bit of British film and TV, and the Sarajevo-born beauty Marjanovic make a combustible screen couple, and Jolie knows it. Despite the film's generally somber tone, there's more than a hint of "Night Porter"-style perversity to their relationship, which at different times is platonic, therapeutic and highly erotic.

An enjoyably off-kilter romantic comedy with a touch of madcap farce and just a hint of darkness.

A picture that's fully open to some pretty rough truths. But it's also a joyful, heartfelt movie, one that speaks to the openness and vitality we see in Bettie's pictures.

Frequently beautiful and intermittently haunting and could be called a meditation on aging and mortality, an intimate study of a peculiar variety of fame and a portrait of a genuinely remarkable person.

Most of the movie's subterranean emotion is found in the unsettled relationship between Solo and William, and in the extraordinary performances by the two leading men.

A clever picture, and something of a novelty -- it's not going to change the face or direction of horror filmmaking in any drastic way. But it's fun to watch something that's so obviously made with love.

Once you get past the question of why someone would make a movie this artificial in the first place and move on to the answer (purely for the hell of it), Sukiyaki Western Django is a blood-drenched, dynamite, often hilarious and uniquely weird big-screen entertainment.

If Land of Plenty isn't always elegant, it has the inexpressible aura of mystery and wonder that exemplifies his best work. Fans will feel echoes of both "Paris, Texas" and "The State of Things" here. Like those movies, this one is less an angry critique than a sad meditation on the American dream, something Wim Wenders understands well and has never been able to resist.

The tremendous power of Aronofsky's filmmaking -- its omnivorous omnipotence, if that makes any sense -- has the curious effect of diluting its emotional impact.

The kicker is that Joy Ride is funny, too. In fact, it would be a superbly frightening entertainment if not for the way Dahl fixates, disturbingly, on sadistic details.

The picture itself is so ebullient and celebratory that it practically beams with perverted innocence.

The original Ocean's is fun, fun, fun. It was a heist caper that was just an excuse for a bunch of friends (Frank Sinatra, Dean Martin, Sammy Davis Jr., et al) to get together and make whoopee.

Stronger is an actor’s movie. Gordon Green’s touch is subtle.

The picture is clever and vivacious -- at times, like the first "Shrek," it seems a bit taken with its own precociousness. But its moments of sheer inventiveness can still catch you off-guard, and some of them are wittily poetic.

In some ways, this is the most conventional of Sheridan's movies. But it never feels sentimental because of the grittiness of his approach.

This is a daring, audacious and sometimes terrifying movie -- purely as a thrill ride, it's probably the summer's best offering so far. That doesn't mean it left me feeling entirely satisfied. There's an emptiness at the soul of Salt -- again, meaning both the movie and the character -- that's extremely disturbing, maybe on purpose.