Sadly, it's a disappointment. Nicole Kidman could hardly be more enchanting in the lead, but the script is one of writer-director Nora Ephron's weakest.

The social commentary isn't subtle, but Romero delivers the goods so effectively that many won't even notice.

Although entertaining, Rize is a somewhat duplicitous undertaking.

From the floating particles of dirt that open the film to the final image of a man and woman on a beach, Yes insists that we live with our mistakes since there is no escaping them.

The director's tenacity has resulted in a breathtaking as well as heartbreaking adventure of life and death.

This coming-of-age tale is ultimately about self, not sex.

The script is as sloppy as Song's unkempt cop, sprinkled with intriguing ideas and imaginative details that, like the investigation, simply get lost in blind alleys.

The exception is Matt Dillon, who goes all-out to be arrogant and despicable. Indeed, building on his scary performance earlier this year in "Crash," he's shaping up to be quite the movie villain: definitely someone you love to hate.

Even though the supporting cast is likable and the film hits all the beats of its formula, it's weak, as if everyone has been to the well one too many times.

Themes at the heart of Heights of despair among the beautiful people are a bore.

A playfully offbeat, willfully wide-eyed tale of lonely, inarticulate people looking for connection in a disconnected world.

Pawlikowski has made a gorgeously ambiguous film -- based upon a novel by Helen Cross -- that is blessedly hard to tag; in fact, it's a compilation of genres and moods -- comedy, romance and diabolical thriller -- and that is its core strength and freshness.

Autobiographical or not, the frankness and family hysteria of this rolling therapy session gets awkwardly intimate and at times tough to endure, as much for its raw candor as for its confessional contrivance. Too bad the revelations of past mistakes are more interesting than the story played out screen.

Peter Riegert's is a labor of love film where you feel love much stronger than you feel the film.

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.

It may be emblematic of new-millennium Hollywood that this movie has turned out to be one more emotionless, brainless, overproduced action film.

This harmless but mediocre enterprise was doomed to failure from the start. Hollywood magic can do a lot, but it can't raise the dead.

This film is satisfied merely to wallow in women in peril, cinematic sadism and the spectacle of violent death and dismemberment.

There is such a joy of play in the film that it's easy to overlook the overdone performances and the lazy script shortcuts.

Movie magic is only as powerful as the imagination that casts it. Japanese master Hayao Miyazaki's imagination is the most creative in animated filmmaking.

The script and direction by Irish filmmaker Mary McGuckian is just deadly.

Ozon's greatest special effect is holding the camera in tight on the faces of Bruni-Tedeschi (one of the most expressive faces in French cinema) and Freiss.

Steel and Morris are simply a couple of ordinary citizens who stand up for their ideals and their rights in the face of intimidation. Which is what makes this underdog story matter.

It's an eye-filling, sumptuously detailed historical epic that grandly re-creates the bloody gladiatorial spectacles and smoke-filled, spit-flying, claustrophobically crowded arenas of its bygone era.

An excellent documentary equal parts extreme sports and social anthropology.

It's a big enough film to hold all the contradictions. Green has an ego and a gift for stealing the spotlight with a wink and a grin. Yet his respect for the kids is genuine.

The jokes run dry, the situation is redundant, the cast becomes tiresome and the running time is interminable.

Stunningly beautiful film.