Ultimately Fear X feels more like an intellectual exercise than a convincing drama.

Mainly notable for its exoticism and gorgeous scenery.

One of those rare instances of a movie being so bad ... it's still really bad.

There are twist endings and there are twist endings -- and then there is the logic-strangling, complete cheat of a reveal that takes place in the final 10 minutes of Hide and Seek. It's so absolutely preposterous that it stops the film cold and draws a collective "Aw c'mon!"

A visually enthralling undersea travelogue.

The sort of soft-core, erotic thriller that would benefit from a lot more trash and a lot more sex.

The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.

Runs 96 minutes but feels like so much more. There is only one gag.

Ekachai's film takes a more compassionate view of its subject and boasts a dynamic performance by real-life kickboxer Asanee Suwan.

With some excellent staging, fine cinematography and first-rate acting, the film largely overcomes the awe it demonstrates for its principal character and succeeds in creating a mystery where perhaps there is none.

The excellent film combines a wealth of archival material with the reminiscences of an unforgettable group of octogenarian women who were champion swimmers when Hitler annexed Austria in 1938.

The 1976 John Carpenter original has been reworked enough to give the urban thriller a distinct flavor of its own, and stars Ethan Hawke and Laurence Fishburne provide enough gravitas to keep things involving.

Packs a quiet wallop.

Should be mandatory viewing for those interested in the dominant intersection between religion and politics.

Thanks mainly to his (Jackson) considerable presence, Coach Carter works more effectively than expected.

Along comes Elektra to effectively lower the bar for Marvel Comics page-to-screen transitions.

At best, Racing Stripes should play nicely to youngsters with the cutoff for enjoyment extending no further than midteens.

An appealing lead performance from its leading man and a wonderfully sentimental, if overly familiar, story line are the chief virtues of this French drama, a huge success in its native country.

The film has enough originality to interest demanding fans of the genre.

As an introduction to this mind-spinning festival, the film gets the job done.

Geoffrey Sax, a British television director making his theatrical debut, lavishes enough craft on the paranormal thriller to send more than a few chills down the spine.

Offers proof that the Korean animation industry is poised for the big leagues.

Captivating drama delivers literary flair and Louisiana music and great roles for a grizzled John Travolta and lovely Scarlett Johansson.

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.

Pacino gives a keenly measured performance, leading an excellent British cast through their paces in a richly colorful production that should please selective audiences and adds to the list of major film adaptations of Shakespeare's work.

Weitz gives all his actors room to shine.

An awkward blend of live action and animation.

The sketchy characterizations, laughable dialogue and less-than-stellar performances by the formidable cast, all of whom have done far better work in the past, provide further reasons why Darkness should never have seen the light of day.