Fascinating and absorbing tale.

It boasts enough camp, skin and 15th century flashbacks of torment to make it fitting fodder for campus screens.

While the arguments obviously will be digested differently according to the viewer's preconceived notions, the impressive credentials of the witnesses, most of them former insiders rather than mere pontificators, give their arguments an undeniable credibility.

The film will eventually be a must-own video item for theater buffs.

An earnest drama about spiritual redemption that is likely to strike quite a chord with certain audiences.

With charm to spare, Valentin fuses nostalgia and humor in an episodic story whose ultimate focus is the birth of a writer.

The finish, too, is enigmatic, but in the hands of Hodges, with his masterful touch in conveying how deep run the rivers of regret, I'll Sleep When I'm Dead may take its place with "Get Carter" as a classic British gangster film.

Each of the stories, impeccably staged and acted, has just the right length, well befitting the slight aspects of their story lines. Never allowing preciousness or ponderousness to infuse the material, filmmaker Pak demonstrates a real talent for concise storytelling marked by poignancy and humor.

The film also does something quite remarkable for an American film: It makes middle-age love look sexy and hugely satisfying.

Cunningham's 1990 novel makes an assured, if not entirely satisfying, transition to the big screen in this terrifically acted exploration of the bonds that transcend traditional notions of family.

Although most definitely an acquired taste, the David Lynchian Gozu delivers the goods in dripping, gooey gobs.

Should please art house buffs across the board. Connoisseurs of Chinese film will be pleased to discover that Tian's meticulous talent has not withered during his enforced hiatus. Moviegoers who like their visions of China rarefied and past tense will delight in the careful period setting.

This is the kind of film that will leave many audience members groaning with laughter -- and others simply groaning. It's skit/situation comedy that exploits stereotypes with a vengeance and knows no shame in borrowing from much better movies ranging from "Some Like It Hot" to "Tootsie."

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

A not particularly satisfying ending that involves silly CG effects. On the other hand, the acting is uniformly compelling, the fight sequences are energetic, and, as character drama, the material is especially enthralling.

Quite moving thanks to its gorgeous cinematography and a story that manages to be emotionally resonate despite its familiarity.

Although the film's jabs at TV journalism are nothing new, Carrey brings to the material the sense of someone who's too smart for his work yet loves it -- the essence, perhaps, of being a ham.

Marshall's predilection for romantic fairy tales is much in evidence, though the comedy registers in a lower key than it did in such hits as "Pretty Woman" and "Runaway Bride."

Tells a gripping story that resonates with numerous subtexts.

A challenging, thought-provoking debut that compassionately questions the relevance of celibacy in the Catholic Church.

Both intensely thoughtful and wonderful to look at.

In effect an elaborate home movie. But its examination of the long-lasting effects of evil on the psyche of its victims and their descendants is both thoughtful and much needed in these increasingly polarized times.

A delightful though wafer-thin starring vehicle for one of our finest actresses, Annette Bening.

A quintessential Hollywood story that might have just as easily been called "Karma."

Awash in nostalgia, "Lions" combines a gentle coming-of-age story with swashbuckling fantasy. While it lacks a necessary tension in its establishing scenes and might be too soft for those who prefer grittier fare.

This culture-clash romantic comedy, scripted by Elizabeth Hunter and Saladin K. Patterson, goes exactly where you'd expect, but helmer Lynn, a comedy vet, gets it there with such infectious energy that you don't much mind the story's predictability.

This exercise in style and tongue-in-cheek melodrama from Canada's iconoclastic Guy Maddin will be lionized by admirers for its audacity, but will wear thin for many audience members, who will find it tedious and repetitive.

The results are as entertaining as they are sobering.

In the warm, sparkling character comedy Danny Deckchair, the Welsh actor (Rhys Ifans) moves to center stage, but it has taken a trip to Australia to get him there.

Boasts an undeniably original premise and clever plot machinations that lift it several notches above the usual slasher film level.

Smartly written by William Osborne and Michael McCullers, Thunderbirds expertly targets kids. Yet parents won't be entirely bored.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

The film, while slavishly faithful, contains little innovative juice outside of its visual richness.

A playfully quirky and, ultimately, unexpectedly affecting portrait of a 17-year-old slacker.

Weinstock takes you down a well-trod path in romantic comedy, but her characters are smart and funny, the twists are unexpected.

Willfully provocative, much like a small child performing outrageous acts just to get some attention.

Arguably Eastwood's most ambitious film since his multi-Oscar winner, "Unforgiven." But it lacks the power and depth of that film's dynamic script by David Webb Peoples.

Mixing all the liberal blood-letting with equal amounts of inspired comedy, Kitano puts a fresh face on the classic material without messing with its heart.

Pitch-perfect performances bring it all home, particularly that of Danish leading man Mikkelsen.

Despite the often insightful comments by the various cast members and Shepard himself -- the film doesn't dig very deeply into the artistic process of putting on a new play. But it does offer a fascinating fly-on-the-wall perspective.

Think of it as "The Matrix" for the quantum physics set.

Director-cinematographer Ryan Little neatly ratchets up the suspense while throwing emotional spotlights on the inner struggles of each combatant trapped in this hostile, frozen wilderness.

Slightly less frightening than the original, but it's still a scary psycho-horror that effectively replicates its bleak and crisp shocks.

First-time director Niels Mueller and his co-screenwriter Kevin Kennedy depict Sam's disintegration expertly and they have fashioned a well-made picture with much to like.

Is Kill Bill a homage to great Asian action movies? Yes. Is Tarantino trying to outdo his cherished masters (on a budget that dwarfs their films)? Of course. Is there any other point of any of this? Let's see "Vol. 2."

Sufficient cheap thrills and enough of the prevailing camp quality.

One of the best looks at a period in American film to be seen in a long, long while. BaadAsssss Cinema has meat on its bones and analysis in its soul.

A sprightly musical revue built around Cole Porter songs and a few biographical tidbits culled from his extraordinary life.

Weitz gives all his actors room to shine.

Results in an edgy comedy, where laughs stem at times from uncomfortable situations. In other words, Mean Girls lives up to its title.

Ultimately, the ending is a bit of a cop-out, but that's a small criticism for a film with such decent perspectives.

It's worth sticking around for the coda too as it contains some hilarious and very politically incorrect suggestions as to how zombies might be put to work once they've been tamed.

There is no room for subtlety. Aiming a rude, foul-mouthed political satire everywhere -- left, right and center -- Trey Parker and Matt Stone blow up a good deal of the world, not to mention the egos of many Hollywood personalities

An engaging, sympathetic portrait of junior high girls who have grown up too fast and way too little. Without being preachy, it's also a cogent, terrifying tale of the lack of supervision many teens face and the utter inability of many parents to not only raise kids but also to direct their own lives.

Does make you laugh even if you hate yourself for doing so. A creation of former "Saturday Night Live" colleagues, the comedy plays like an extended skit with bits of improvisation and several slightly extended sequences.

Could develop a cult following. But it is hard to envision repeat viewings or any great number of people willing, even vicariously, to undergo the couple's ordeal.

Although the pace is slow, "Twilight" is a moving account of a family in crisis and the love that provides a short window of happiness for the father.

A blissfully silly, character-driven road movie with impressive laugh-per-minute performance specs.

What makes the film so much fun is an ingenious plot device embedded in Rashid's sharply observed screenplay.

It's a cracking good detective yarn with hints of "Chinatown" and Raymond Chandler, and it's a sharp political lampoon of things we're all reading about on today's front pages.

The movie never really gets below that surface. It sticks to the mean streets of Los Angeles without much introspection or analysis. But those surfaces are slick and beguiling.

Does a good job of reviving stale material. Thanks to a snappy script by Josh Goldsmith and Cathy Yuspa and an effervescent performance by Jennifer Garner, this romantic comedy has a buoyant personality.

A smartly scoped story of great personal growth and transformation. It's not hard to see the personality/political basis for Che's later revolutionary actions.

Reminds you of an elaborate Christmas card that tumbles apart with pop-up figures, silly/charming greetings and perhaps even a jingle. It probably cost more than the gift it heralds, and you can't help but laugh at the audacity of such an aggressively cheerful card.

Stephen Mirrione's fast-paced editing and David Holmes' pop-rock score propel the story ever forward whether one follows the twists or not.

The chief wonder of this rock 'n' roll cast is Tom Everett Scott, whose easy charisma, dreamy smile and undersurface intelligence should shoot him up the acting charts like a bullet.

Edwards’ direction is smart; he has a way with fashionable comedy. Axelrod’s treatment of the Capote story is convincing in the changes it has made although some of his devices are disappointing, being overly familiar. The script is not altogether neat.

Murphy's comic brilliance is at the service of the story and he positively shines with a number of diverse and zany impersonations, most enjoyably a Jesse Jackson takeoff.

The action at the center of Chris Columbus' script occasionally falters and generally feels manufactured, but the kids go about their chores as if convinced that all their make-believe is true.

More than delivers on the excitement and terror of this existential flirtation with one's own mortality. Where it falters is trying to link this event to Nazi-era politics and a feeble love story.

So even if Sex and the City 2 consisted of nothing but a two-hour fashion show, it would draw crowds. But it also has the returning cast members in fine comic form, and it has more cutting-edge humor than the first movie.

The stunt work is amazing, and the pace is breathless enough to keep one watching right up to the somewhat ambiguous conclusion.

A pitch-perfect, guilty-pleasure serving of late-summer schlock that handily nails the tongue-in-cheek spirit of the Roger Corman original.

Though Carell and Rudd are both saddled with characters that just aren't as interesting as many they've played in the past, the movie benefits from having drawn many gifted comedians to supporting roles.

Another beguiling if draining fantasia from Jean-Pierre Jeuet that harkens back to silent movies.

A handsome, fast-paced and innocuous adventure that's easy to take but lacks epic scale.

A polished, fast-moving, entertaining picture whose mainstream success will depend on audiences' tolerance of its tendency to become an abattoir of extreme carnage.

This love letter to gay-marriage supporters is respectably entertaining filmmaking, it's just not exceptional.

These talented performers star in two of the wittiest, most sophisticated sitcoms on the air, but for this movie pairing they're stuck with an endlessly silly plot line and overblown physical mayhem that is instantly forgettable. The fact that they make it so funny nonetheless is a testament to their abilities.

An often intriguing documentary, albeit one with wires attached.

While much of what is said here has been recounted in previous forums -- the special Sept. 11 episode of TV's "Third Watch" being a prime example -- the redundancy doesn't deprive the commentary of its power.

It does offer plenty of musical numbers and an impressionistic portrait of his life and times.

Often gripping footage, and the finished product resembles a taut if at times confusing and inadvertently comic political thriller.

Voices overcome some used story conventions to give it a very specific charm of its own.

Does a great service in offering new information at a time when open discussion is more important than ever.

Told with a tender vigor, the film explores relationships on a number of levels. It will ring true with mature teenagers of all classes.

An ultimately moving effort that well illustrates the often hopeless situation faced by the people whose lives it depicts.

Captures a complex and contradictory world figure. Imelda is by turns humorous, insightful and infuriating.

The two main characters are both so funny, human and touching that Sunset Story ultimately possesses an emotional quality missing from many similarly themed efforts.

Although Cinevardaphoto is hardly a major work, it does represent the latest (and earlier) chapters in the career of a fascinating filmmaker.

A full-flavored, absorbing tragedy.

Odessa ... Odessa! could use a little more narrative substance to augment its haunting imagery but is ultimately a memorable portrait of cultural dislocation.

Tells a fascinatingly lurid tale.

The film is narrated by Kathleen Turner in her inimitable husky style, with the actress receiving a final credit as one of the volunteers at ground zero.

Highly informative and likely to increase enrollment at film schools.

A tender and moving drama that deserves wider exposure.

An unsentimental portrait.

A surprisingly frank effort that demonstrates that the country's censors may be loosening their reins. This well-acted portrait of a young single mother displays a universality that should translate well to the art house circuit.