Often as stillborn in pace as it is conceptually compelling.

Cruise is a man whose youthful cockiness has aged into self-assurance and cool confidence. It's a masterstroke of casting. The dynamism of Collateral, however, comes from Jamie Foxx.

In the end, it's just a pointless downer.

This is a spare and plainly told story, and it is that plainness that gives it so much punch.

Allen does become quite likable, the cloud of his off-screen turmoil disappears, and his movie turns into a good time. [20 Aug 1993]

The masochistic brutality it's selling still seems glaringly out of step with the current mood of the country.

A gripping, terrifying, profoundly touching human drama that's definitely worth seeing.

With very few natural gifts, Bingenheimer managed to spend his life doing something he loved among people he worshipped. At the end of the game, very few people can make such a claim.

The camera drinks in the angles, curves and textures, and the way it all shapes the light as if it's yet another of Gehry's non-traditional materials, and Pollack creates his own video sketchbook of Gehry impressions.

Unfortunately can't transcend its theatrical roots and the actors, good as they are, seem like they're grandstanding.

A highly original and progressively riveting personal adventure.

After a slow start, these two characters absolutely absorbed me. The drama develops a strong (and not altogether pleasant) voyeuristic appeal and the performance of Karen Sillas (a regular of the Hal Hartley movies) gradually becomes one of the most devastating and original performances I've seen by an actress in a movie this year. [07 Oct 1994]

It's the most intense, unpredictable and thrilling cinematic experience I've had the pleasure to squirm through in ages.

Gorgeously evocative visually.

Its only constant is that it's strangely eloquent and quite original.

The most interesting moments in the film are the videotapes sent back and forth between the parents and students, as they communicate the sadness of children separated from their distant families.

Never more than a dull and confused film about Bolivia's 2003 presidential election.

Beautifully observed tale of high-school kids in the projects outside Paris.

It's funny, touching and crammed to the rafters with clever dialogue, splashy production numbers and stiff-upper-lip charm.

It's Kang's first feature and it suffers from rocky moments and an unsure eye, but his sense of detail is rich with prickly contradictions and he resists tidying up the story.

The curious character study is a comedy in a minor key, but for all White's fascination with Peggy, he brings little conviction to the healing message under all this creepiness and social awkwardness, beyond what Shannon brings to the role.

Like most films in this overworked genre, it's as formulaic in its own way as a John Wayne western, and the characters and situations all have a gnawing predictability about them.

Clearly, this film is less than a suspense masterpiece. Its violence is often gratuitous.

The movie is never mechanical or emotionally contrived, and at its heart is a guileless, enchanting performance by Tautou.

Fresh, vibrant and vital, this interpretation reminds us why Shakespeare is timeless.

Technically, the film is consistently impressive. It creates a grimly gothic vision of a crime-ridden and depression-ravaged Gotham City, a dandy pair of chase sequences involving the new generation Batmobile and a range of innovative visual effects.

Morris challenges us to understand what the pictures show and what they don't show, and to see them in context. And he confronts us with the most important question surrounding them: Do they reveal a crime, an aberration in the system or standard operating procedure?

Like a family visit during the holidays. Tensions run high, not everyone is likable but being there's an uneasy comfort because everything is so familiar.