Most successful as a tribute to the martyrs of the anti-apartheid struggle. It fails, however, as a well-reasoned documentary on the subject of the relationship of music to social change.

Lurches toward an offbeat honesty but it also very nearly crashes in its quirkiness.

The result is like a "Waiting for Godot" for the video-game generation.

The artist's life and times were turbulent and tragic, but the effect of the movie is the opposite: it's somehow a very calming, almost Zenlike experience, and it left me with a peaceful glow that I managed to carry around for the rest of the day.

Unremarkable sequel to the 1967 hit.

Its overall effect is distinctly underwhelming.

For what it's worth, the film also goes out of its way to be a lavish visual re-creation of the 1880s.

Presents itself as a sassy twist on "Taming of a Shrew," but what looks like just another contrived sex comedy becomes, surprisingly, an insightful and sensitive look at knots that family ties create in adult romance.

It wants to be a "Carrie" with a modern-day "Frankenstein" twist, but it lacks the smarts behind the weirdness.

Playful, predictable and more than a little precious, this entertaining if slight romantic farce makes it's hard not to mourn the loss of the adult romantic comedy.

Offers precious little inspiration, and the only irony it manages is surely unintended.

In the end, it's not much fun to watch a brave artist getting his dream kicked out of him.

For all the testosterone-driven soap opera, this entertainingly confused coming-of-age story is a seductive fantasy, a rare portrait of urban underworld machismo without the violence and the viciousness.

It's just never as gripping as it needs to be.

A series of Grand Guignol skits played for mean-spirited laughs.

The film is many things: dark fable, gritty thriller, satirical social commentary, horror film and a love story that's blessed with a marvelous, near slapstick physicality.

This bracing portrait of a woman who painfully accepts her responsibility as a citizen is a revelation.

A joyless amalgam of horror movie cliches, none used more exhaustively than the false alarm.

While it displays precious little originality or ingenuity, A Guy Thing is less graceless than most of its ilk and benefits from a likable cast.

It's only a notch above the routine, and it obeys all the conventions of its tired formula, but it also tones the anarchy with a serious edge and it works a surprisingly effective vein of race-relations satire.

The kangaroo is devoid of charm, as are the actors, who have the chemistry of fingernails on a blackboard.

The Divine Intervention of the title lies somewhere between hope and fantasy. In a world in which Santa Claus is assaulted in Nazareth, what do you have left?

It takes a strong stomach to sit through its two-plus hours of non-stop brutality (much of it involving very small children).

When it was released in the United States more than 30 years ago, its distributor hacked away 40 minutes of its precise structure. This rerelease restores every meticulous second of Melville's cinematic fantasy.

The Dardennes's masterful casting and austere style amplify this simple but powerful parable.

Even though he's strikingly played by Rockwell, Barris comes off as such a distasteful character and the silliness is so unrelenting that the movie wears you out. Long before it's over, you feel yourself reaching for that gong clapper.

Less a story than a film of emotional textures, this is a study in stasis.

A funny, rousing crowd-pleaser.