Will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular.

While visually stylish and thematically ambitious, Secret Things is ultimately more preposterous than provocative, its vague explorations of sexual and class struggle failing to coalesce in a coherent manner.

This offbeat take on "The African Queen" stumbles on a couple of awkward transitions, but generally succeeds on the merits of Collette's unerring ability to carry the viewer along her constantly changing emotional landscape.

A wonderfully vivid and engaging theatrical experience.

A nifty science-fiction twist on the old amnesia plot where a guy spends most of a movie trying to remember what he did and why everyone is after him.

Designed to maximize the visual opportunities for Imax's cameras even as it minimizes the dramatic conflicts that make for a satisfying moviegoing experience.

A somber, often downbeat depiction of human savagery and treachery as well as of human kindness. Writer-director Anthony Minghella has meticulously crafted an intimate epic.

Thanks to Martin and Hunt, who both have a seemingly casual flair for mining laughs from even the most generic lines of dialogue, Cheaper by the Dozen works better than it might have in less capable hands, but even they're challenged by some of the picture's forced mood swings.

The film suffers from uneven acting, an over-reliance on production values and an uncertainty over how dangerous the children's adventures should be.

Challenges audiences with an unrelieved portrait of self-destruction and horrific violence. American movies don't get much grimmer than this.

First conceived as a documentary, this debut feature from Geoffrey Enthoven betrays its origins via its naturalistic, raw style and occasionally suffers from aimlessness and poor pacing.

It's a real-life story adapted into a grown-up comedy that is warm, winning and sexy. Call it "The Full Auntie."

Arguably the most conventional documentary made by Errol Morris and, perhaps equally surprising, it displays sympathy toward its subject.

Perfect holiday entertainment, albeit for those small fry who can read English subtitles.

Rote characterizations and a trite, even condescending, attitude toward that era's misguided mores robs the film of the satiric punch Todd Haynes delivered in "Far From Heaven."

The carefully laid foundation of suspense and dread, with its symmetries and crisp dialogue, is squandered in a clumsy pileup of credulity-stretching cataclysmic events.

A crass, sophomoric and, more to the point, offensively unfunny parody that sets out to remake Shaft and his blaxploitation ilk as a Jewish action hero.

An epic success and a history-making production that finishes with a masterfully entertaining final installment.

Filmmaker Devlin details this complicated series of events with clarity, a sense of drama and more than a few touches of dark humor.

The technique adds little in the way of illumination and a lot in terms of inducing a migraine.

Has the hallmarks of a top-notch Jewison production -- splendid performances, especially from leads Michael Caine, Tilda Swinton and Jeremy Northam, a pulse-quickening pace and production values that establish story and character within a distinct environment.

What distinguishes Malcolm Clarke and Stuart Sender's film from the many similarly themed efforts that have preceded it is that it tells a morality tale of a man whose hubris partially led to his downfall and whose willingness to work for his Nazi overseers resulted in one of the most notorious propaganda films of the era.

Instantly forgettable.

While it has its moments of pure Farrelly inspiration and swell performances from Matt Damon and Greg Kinnear...the patented blend of the outrageous and the sweet that has become the brothers' trademark struggles to find the desired balance here.

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

This is an art film in spades.

A misfire. The film that wants to be lighter than air instead crashes to earth with the swiftness of a concrete parachute.

Both an appealing coming-of-age yarn and, as Monsieur Ibrahim embraces his own mortality, a heartfelt coming-of-aging saga.