Despite the cultural and artistic differences among the contributors, the overall production design maintains a unified tone, helped in part by Laurent Perez's eerie soundtrack.

Romance has little to do with the bizarre tale, part true crime and part lonely-hearts drama, of Burt Pugach and Linda Riss. While the now elderly pair may have found some happiness, that absence is heartbreaking.

The joy is in watching a talented cast make something crisp and fresh out of material that -- though perfectly adequate and enjoyable -- trespasses little into territory that's new or out of the traditionally plotted points of the genre.

Even without the oral history, this trippy exploration of Cobain's earthy habitations would be worth seeing as a "Koyaanisqatsi" for the Puget Sound area.

Chereau's film is disjointed and abrupt and it rages when is should be deft. We're given too little too late and, despite the lessons that lie within the affair, the lines between enlightenment and nihilism blur.

A comedy of miscommunication that blends the humanism of Jean Renoir, the magic of Jean Cocteau and the absurdism of Eugene Ionesco.

This limited point of view, while effective in chronicling Gator's rise, is dreadfully inefficient in contextualizing his fall.

The movie just seems like one more Hollywood cop-out, and a waste of our original emotional investment.

A gracefully subtle, sweet-spirited French parable of the brotherhood of man that was nominated for a Golden Globe, won Omar Sharif a César Award for best actor and has been a surprise hit in Europe.

A clever, charming, laugh-out-loud-funny road comedy that works in almost every scene.

An impressive, adrenaline-boosted action showcase.

The only difference between the two films is that this one chronicles Capote's New York environment in more detail (and with humorous interludes), and it's a tad lighter in tone and perhaps a bit less high-horse condemning of its subject's literary ethics.

Overcooked and simplistic in spots.

Sticks in the mind and simply won't go away.

At times a bit stilted, a common quality of first-time directors who try too hard to sculpt every scene, but it's refreshingly bereft of slick cynicism and smart-ass snideness.

There's no particular tragedy or triumph, merely another step in the lives of two fallible people finding a little comfort while stumbling toward happiness.

Fascinates by its very premise: the fact that, on the basis of a Web site logo, these two bozos could so easily pass themselves off as important officials.

A moody adventure story set in Alaska that resonates with envrionmental overtones and is filled with delicate character studies, but ends up being a terrific little genre thriller. [04 Jun 1999]

For all its excesses, it's an absorbing, disturbing, savagely beautiful "trip" movie, and an extraordinary -- perhaps even outrageous -- personal vision of the one A-list filmmaker who truly deserves the adjective "maverick."

There is a ton of psychology and inference in this intriguing first feature by French director Anne-Sophie Birot.

Director Marcelo Pineyro imbues the film with mood and style and yet the violent climax holds little thrall as a lack of character development makes it had to care about the robbers' fate.

Techine has a delicate touch and these lovely moments flow with a life that Martin's heavy, stumbling psychodrama can't match.

Much ado about very little because it takes no stand and gives little insight into the Chopper's psyche.

It's a low-key, subtly inspirational drama that builds its charm slowly but surely.

The impressive marriage of CGI backgrounds and traditional hand-drawn characters gives Oshii more tools to sculpt his vision in color and light.

The film comes to life when Cohen is on screen.

The most imaginative and delightful computer-animated movie of recent years outside of the Pixar brand, Monster House is a Halloween ghost story by way of monster-movie adventure.

A proud and optimistic testament to the youthful spirit of seniors who refuse to let such a trifle as their failed lives get in the way of a bit of fun.