If In the Cut falls short of the masterpiece Campion intended, it's unquestionably the most ambitious and important film to come along in months.

It is a well-researched smorgasbord of newsreel and documentary footage spliced with current interviews with those on the front lines.

It's a coy, cautious film about a frank, fearless writer.

An arresting portrait of a fascinating and somewhat mysterious personality.

A courtroom drama with a compelling story and something peculiar about it, too: For most of its running time, there doesn't seem to be much in the way of a rooting interest. The audience isn't quite sure who it's for or against.

The remaining twisted population that likes this kind of movie will enjoy a horror film that is surprisingly stylish.

Less a new Japanese movie than a series of scenes from old American ones, most notably "The Terminator" and "ET."

Both heartfelt and tough-minded.

If garbage could think, it would look down on 9 Dead Gay Guys as garbage.

It's a grueling 70-minute march toward the end credits.

That rare thing, an American romantic film that's not a comedy and that's more about love than sex.

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

A promising idea turns into nothing, and we're left with a painfully dull kids' picture.

Too slick but amusing marital farce.

Dead-on hilarious.

It boggles the mind that after six years of silence, all Tarantino has to offer is this garbage.

The film takes us behind bars to hear horror stories from prisoners. They're illuminated by a black light to hide their identity. The effect is like looking at an X-ray. Moments like this attest to Padilha's artistry as a filmmaker.

Chilling, superbly acted.

Heartfelt but interminable movie.

A shrewd thriller that takes the time-honored plot about an innocent man wrongfully accused and gives it a film-noir twist.

As touching and original a movie as you're likely to see this year.

Sordid, brutal and depressing.

All Black, all the time, and could easily have been an exhausting mess. But the movie is coherent, hilarious and surprisingly sweet.

Mirthless and barely musical.

One of the year's sweetest surprises. It sneaks up on you, disarming you with its modesty and tenderness, its remarkable lack of self-infatuation.

The musical numbers are the only real drag on this otherwise odd and appealing picture.

Stays funny despite rickety gags because Ben Stiller and 81-year-old Eileen Essel are old pros at playing it straight.

The action sequences are novel, the performances are slightly askew, and the camera work is vigorous and mostly effective.