The film is highly critical of America's counterterrorist efforts, and not at all subtle in making the point that our stupidity and Nazi-like methods have helped create -- and vastly acerbate -- our problems.

The song may be somewhat familiar, but Sach gets understated performances from his entire cast and finds interesting harmonies as they play out their clashing duets.

Far-fetched but deliciously exciting aerial nail-biter.

Apparently there's a fresh generation ready to take this at face value. That, in its own way, is refreshing.

Surreal, vaguely amusing, European-made drama.

It's absorbing and often excruciatingly suspenseful, and it gives Viggo Mortensen a strong, change-of-pace vehicle to follow up his "Lord of the Rings" triumph.

The movie is 23 minutes longer than the Lean version, yet it somehow seems much less evocative of the novel's immense scope and texture. And its Cockney accents are such a strain to understand that as much as a third of the dialogue is indecipherable.

It's so fluid and cinematic that it's hard to even envision how the piece worked on stage.

Apart from the gender twists, there is one notable difference between the traditional slasher flick and this gay take: Here, even the nice boy gets it on. And he doesn't even get punished for it.

A forgettable, patched-together clone of other ghostly romances.

But the movie soars as docudrama. Niccol's model seems to have been Scorsese's "GoodFellas" and, like that film, the blitzkrieg of images and rapid-fire narration takes us on a breathtaking inside tour of a scary world. It's an extraordinary expose.

Though Wood is the star, it's Hutz who is the indelible presence.

One more good thing is that the movie doesn't overstay its welcome. At 76-minutes, it's wisely calculated to give us as much of its ghoulish whimsy as we can take in one sitting, and not a second more.

Panayotopoulou casts a transcendent eye upon her downbeat subject matter, never dodging the unsentimental truth that growing up is about learning to live with the loss of those things we have loved.

Most disappointing is the ending, which, in projecting the possibility of a saner and more hopeful world, is a bit of a cop-out.

Mostly it's tedious as we watch the photogenic but emotionally blank Chatagny bounce between anonymous sexual encounters.

A competent concoction of familiar ingredients, smothered with gothic mood and served up with a generous helping of teenagers: skewered, slashed and stabbed.

The most fascinating aspect of the film is how the point of view shifts -- each character, as seen through another's eyes, is something else entirely.

Suffers from a simplistic reductionism that suggests buying from local organic farmers might help avert the possibility of a worldwide famine triggered by Monsanto's suicide gene. It is a noble and quaint solution to a situation that won't be easily swayed by consumer votes.

Though he's foggy on the specifics, Angelopoulos makes the tides of history felt through each painterly frame.

An action buddy comedy is such an offbeat and inspired notion that it's impossible not to think of it without smiling.

Redford also deserves a lot of credit. It's not the kind of showcase that's going to earn him an Oscar, but, without too many compromises, he manages to find the soul of a difficult character and makes his emotional odyssey both believable and satisfying.

It's a pretense of even-handedness. The true story has been reduced to a case for faith. It merely sacrifices all reason to get there.

Affliction has rarely been so sensitively explored.

It becomes simply another banal gang film so familiar and predictable you have to wonder why so much potential is wasted on such a confused dramatic mess.

Fukada captures the stubborn individualism of a girl who embraces an unpopular lifestyle.

A lesson in listening.

When the spectacle turns ridiculous, the movie just becomes another big-screen video game.