Festival Express should rightfully take its place in rock history as one of the great performance films of all time.

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

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

Unlike "The Sixth Sense," the film's key revelation might be too mild to jolt audiences. Some may even feel cheated.

The film does get claustrophobic. It never quite achieves the balance between a two-character study and a larger world, as did "The Man on the Train." The film also could do with a bit more humor, most of which is supplied by the sagacious shrink.

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

The updated classic is a chiller of a political thriller in its own right.

Ultimately, the sex scenes seem of far more interest to the filmmakers than the narrative or characterizations, which are rendered in frustratingly vague and often deliberately confusing fashion.

This non-secular variation on "The Usual Suspects" falls prey to a creeping structural rigor mortis that sets in early.

How can a director as savvy as Lee make so many errors of judgment regarding taste, tone, intention and dramatic structure?

Writer/director Zach Braff has threaded a powerful and intelligent personal story through a genre all too rare today – romantic comedy.

A terrific cinematic essay that will have a very, very long shelf life.

The result is not the train wreck one might anticipate from surfing the Net. The catfights, overacting and Berry's swagger in a skimpy, tight, leather outfit that would be right at home at a Hookers Ball make for campy fun.

This documentary about Howard Zinn provides an effective if not necessarily comprehensive or objective portrait of the esteemed historian and activist.

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.

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.

Director Takashi Shimizu chooses cruel psychological suspense over gore and succeeds in spinning a minimal plot into a panorama of malice.

Like its various post-Cold War European locations, the film remains chilly and distant. Every time you feel like you're finally grabbing hold of something involving, the picture once again spins frustratingly out of reach.

Despite the melodramatic plot twists, there's little emotional resonance to the proceedings, and the film's attempts to link them in metaphysical fashion prove overly ambitious and pretentious.

Manages to be insulting both to slasher movies and lesbians. Where's the gay rights movement when you need it?

It's an unusual idea but fails -- Sun spends so much time on the mood and atmosphere that he forgets about the story.

From its uninspiring title -- and certain turnoff for young males -- to its limp slapstick and uneven acting, A Cinderella Story arrives with a dull thud.

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

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

The film works best as a kind of mindless, action-packed B-movie. But on the A-level at which recent science fiction/fantasy films operate -- meaning the "Spider-Man," "Harry Potter" and "Terminator" series -- this movie falls woefully short.

A good-natured Indian-American romantic comedy in the style of "Bend It Like Beckham."

Squanders its potentially rich possibilities.

The production is graced by bold performances, lyrical visuals and, most notably, Irving's own words, which have made the transition quite intact thanks to a faithful but still filmic adaptation by writer-director Tod Williams.