Tilda Swinton's rich, compelling performance is reason enough to see this uneven picture, which devolves from a riveting romantic triangle to a morality tale without a moral center.

Precious and uninsightful but ends beautifully.

Jay Kelly is Baumbach’s best film and, from an artistic standpoint, his first complete success.

An absorbing, multilayered story about the search for a French girl who goes missing with her Muslim boyfriend, starts in a very un-French way: with cowboys, horses, a Marlboro Man-like billboard and country-and-western music.

A bit of a soap opera, but still compulsive watching. [22 Aug 1999]

Beautiful in a girl-from-the-neighborhood sort of way, Carano inhabits Soderbergh's elaborate frame with wit, physicality and just a hint of ironic distance, the suggestion of someone who's not overawed by the opportunity or taking herself too seriously.

This conventional PBS-style piece intends to deliver the story behind the event without much more than the slightest nod to the music, which is shunted to the side in this telling of the already oft-told story.

As finely crafted as a great work of literature.

While “Fresh” is intentionally not for every taste, it’s an uncompromising feminist horror/thriller with a fantastic lonely girl/victim/heroine for Edgar-Jones to play.

Ultimately, Kink has an undeniably voyeuristic quality - it's a glimpse into a mostly forbidding world, and there's value in that.

Perfect Blue manages, through animation, to take the thriller, media fascination, psychological insight and pop culture and stand them all on their heads.

Any movie with Meryl Streep is an occasion, but when you add Diane Keaton, Robert De Niro, Leonardo DiCaprio, Hume Cronyn and Gwen Verdon, you've got an embarrassment of riches.

Any Agnieszka Holland movie is worth seeing, even if Spoor isn’t up to the director’s best (“In Darkness,” “Europa, Europa”).

The scale is small, but Jellyfish has deep currents.

Long before the end, audiences will stop worrying about the characters and start worrying about themselves — about when they’ll get to leave.

This much is certain: The cover-up was grotesque.

For those willing to enter this world and pay attention, A Late Quartet provides distinct and uncommon satisfactions.

The casting, at least, is magical. Plowright shows both her character's strength and her heartbreaking vulnerability, sometimes at once.

An intense and affecting report on the experiences of U.S. troops in one of the most dangerous areas of Afghanistan.

This project is in many ways a nod to the films of the French New Wave, and even if the surprisingly unsexy A Faithful Man doesn’t quite measure up, it’s never boring and keeps moving at a brisk pace.

After 96 minutes with these people, you’ll care even less than you do now.

Delightful.

Exhilarating for Lynch diehards.

The audience, too, will be sorry to see this fleeting, beautifully made French film end.

You've heard this one before, and in an edgier way -- yet you still admire the old-fashioned storytelling.

Open Range veers wildly. It's a movie of beauty and sensitivity, and tedium and absurdity.

A horror “comedy” about a deranged 12-year-old boy with a script that feels like it was written by a deranged 12-year-old boy.

Davidson’s appeal is essential to the movie’s success. If you know him only from “Saturday Night Live,” you’ll be surprised by him here. On “SNL,” he can be zany and annoying. Here he has a very particular quality that seems to be coming from a place of past pain. He has equanimity. Without making a fuss about it, he’s attentive to other people’s feelings. He just seems like a decent, thoughtful young guy, someone that you’d like to see come into his own.