There may be no more sensual director in the world today than Hong Kong's Wong Kar-Wai.

Diaz is quite believable in the part, and gets solid support from Brewster, who is even more appealing as the adoring, wounded and somewhat vacuous younger sister.

Rambling and easygoing, Nico and Dani is a modest but frank look at adolescent lust, both heterosexual and homosexual.

The script is soggy and sloppy and Waters is no master of suspense, but he does have a pair of engaging stars flirting in a world of chic New York glamour.

Shooting with a respectful remove that captures an intimacy by sheer doggedness, Finkiel creates a rich atmosphere by simply looking, listening and peering past the surfaces.

Ullmann has honed a too-long and sometimes relentless film that delves into the selfishness of passion but also captures the elusiveness and unpredictability of love.

In the end, it trivializes the psychological complexity of the girl's post-traumatic stress and betrays a game group of actors who struggle to find balance between the alternately dark drama and the silly, over-the-top melodrama.

As weak a star vehicle as Hollywood has cranked out this millennium.

It's unspeakably morbid, and never adds up to be something special.

Plays like a series of well-done but disconnected acting-class sketches, filled with a huge cast of first-rate actors whose careers have all gone into decline.

Belongs to that distinctly '90s genre of sadistic crime comedy whose time has clearly come and gone.

A nifty little neo-film noir that's a lot more intriguing and watchable than half the films that make it to the multiplexes.

A bafflingly unfunny comedy.

It's phony and forced, but mostly it's just silly. If there was once a satirical edge to this thriller, it's been programmed right out.

Beautifully acted and conceived -- even if the final vision is not always totally satisfying.

The second-class status of women in Korean society is a reminder of Confucianism's dark side. For all its pretty cinematic images and well-meaning bows to a vanishing literary tradition, this movie is a celebration of that dark side.

Hypnotic and fun.

There's not a smarter, more demanding American film from the past year.

A mesmerizingly suspenseful drama.

Under Schnabel's direction, it becomes stilted and static, if not simplistic.

In the lead, Anderson ("The X-Files") is competent but never quite makes the character come soaring to life.

The characters are uniformly repulsive, the cliche-ridden script builds no real tension or psychological interest, and the bottom line is that Lee's innovative but ultimately tedious and even ludicrous MTV-style visuals add absolutely nothing to the story dynamics.

A clumsy, heavy-handed and unnecessarily sordid occult thriller that somehow has managed to generate a big pre-release buzz.

Harris genuinely seems to be at one with the character, and his movie is eerily alive.

Harmless and thoroughly unmemorable: colorful, cute, fast paced, and about as involving as an amusement park ride.

A potentially interesting idea deflated by the absurd proclamations of an arch screenplay and smothered under the ponderous gravity of M. Night Shyamalan's dreary direction.

He's (Carrey) a marvelous Grinch in this spirited, bustling and mostly faithful spin on Seuss.

Flies coach instead of first class, despite a charismatic cast.