A poetry of love, longing and affirmation bleeds through the music of Cuba, and some of the best sounds the island ever created are captured with embracing humanity.

The warning against actors playing with dogs or children should be expanded to include men in gorilla suits.

Both halves of the film are exquisitely acted and written, both are emotionally true, and yet they don't quite fit together.

There is a very good movie stuck somewhere on The Thirteenth Floor trying to get out. Too bad this isn't it.

It comes as a bonus that this romantic comedy is one of the rare pictures of its type that actually is about something -- the double-edged sword of celebrity.

It's visually stunning, especially in scenes of the African countryside, and takes more risks than most independent films.

Angelopoulos returns to the same poetic terrain he explored in Ulysses' Gaze and Landscape in the Mist. In place of "action" and conventional narration, Eternity deals in philosophical ruminations, slippery shifts in time and long, hypnotic tracking shots that seem to whisper to us, "Slow down, observe. Listen."

In special effects, Lucas has moved a galaxy beyond. In energy, not yet.

A playful, sexy piece of work -- just what the Bard might have conjured up for a movie adaptation of his beloved spring-fever comedy.

It's warm, spontaneous and heartfelt. Zeffirelli cared about his memories, and he's done justice to them.

He never indulges in schmaltz or melodrama, as most American filmmakers do when approaching this theme -- think of "It's a Wonderful Life" or the awful "When Dreams May Come" -- but delivers a delicate meditation rich with emotion.

Digs up both laughs and chills from timeworn material.

When a movie sets out to be awful and achieves its goal, does that make it a success?

A study in unexpressed emotion, but Mamet turns the flame so low that his film lacks the emotional payoff we expect.

Entrapment is an adventure movie without two brain cells to rub together.

Takes viewers into a unique world. It's not just about air traffic controllers. It's about controllers in a specific place and from a specific social background.

Why was the sight of scrawny Woody Allen kissing pretty Diane Keaton never revolting, while scrawny David Spade kissing beautiful Sophie Marceau in Lost & Found is the creepiest cinematic sight of the year?

Leigh is perfectly cast as the game-pod goddess.

The screenplay by Payne and Jim Taylor, based on the novel by Tom Perrotta, sees the lives of these suburban students and teachers through a prism of absurdity that refracts more truth than any straightforward telling.

Eddie Murphy and Martin Lawrence are back together and give both of their careers some new life in this sentimental comedy.

So forced and contrived in delivery that it's tedious. That's not good when the intention is to be audacious.

An American reissue, with a fresh new soundtrack and all the dialogue dubbed.

A nasty little picture with a lot of wit and impudence.

Some so-so movies are just easy to be around, and this is one of them.

A sexy, moody comedy that plays like a dreamy comic novel.

Altman has delivered a lot of surprises in his long directing career, and his new comedy, Cookie's Fortune, is one of the most refreshing -- not because it's so good, but because it's so sweet and affectionate.

The movie is a mess of bits and pieces that try to gel but don't. Still, it is stupidly fun.

That the movie succeeds as thoroughly as it does -- getting deeper and creepier as it goes along -- is evidence of a far-seeing creative imagination. Nolan is a compelling new talent.