Heart-wrenching as well as spirit-raising.

Can't decide what it wants to be when it grows up.

An engrossing mix of atmospheric gothic horror and smart sci-fi that's cemented by intriguing mythology, terrific visual effects, a dry sense of humor and an ideally cast Keanu Reeves.

Loud, mean-spirited and generally obnoxious, Son of the Mask makes the boisterous 1994 original look downright demure and refined.

Macpherson keep things creepy and mystifying. But that damn videotape takes the edge off the mood both visually and dramatically.

The filmmaker's attempt to explore the outer boundaries of erotic and violent obsession are undone by the murkiness of the execution, and only the highly committed and forceful performances by the two leads give the aptly titled Bad Guy any distinction.

This tale of the theater could have used more time on the road.

One of the best war movies ever made, Downfall is a powerful and artistically masterful re-creation of the last days of the Third Reich.

Sub-par video camerawork and editing make the film a trying and tedious experience, despite the engaging personality and impressive physicality of its star.

A quietly celebratory film about music and human kindness.

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

An effective martial arts film destined to leave mouths agape.

Like an Elvis Presley musical from the '60s, filled with shiny bright colors, bouncy music and happy, smiling, pretty people.

An unwieldy, excessively talky affair, unintentionally exhibiting all the clunky stops and starts and self-conscious ramblings of a particularly awkward first date.

Provocative and perceptive.

Modest comedy-drama.

Genuinely sweet, beautifully constructed documentary.

It's a charming-looking, tenderly told story about friendship and diversity.

Zlah H. Hamzeh's documentary is a powerful and timely portrait of the tensions that can be generated by immigration situations, especially in a post-Sept. 11 world.

It suffers from a lack of genuine chills or suspense that renders its slight virtues rather moot.

Familiar but never overly broad, this well-cast, crowd-pleasing comedy benefits from a low-key emphasis on character over high jinks.

It's a beautifully modulated performance in a nicely crafted, quietly unassuming character study by Vancouver-based writer-director Carl Bessai.

Provocative without being especially thoughtful or credible, Harry and Max registers as a severe disappointment coming from this talented filmmaker.

The film fittingly embraces the elements of camp and kitsch that played such a major role in defining the Nomi persona.

The kind of inspirational movie that actually earns its crowd-rousing response as opposed to merely pushing the same old, emotion-coaxing buttons.

Without them (Geoffrey Rush and Judy Davis), the melodramatic chronicle of real-life swimmer Tony Fingleton's formative years would have very little going for it.

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.

A curious film with real heart but questionable technique. This art house fodder is just quirky and fresh enough to catch on with audiences.