Sardonic and steeped in the tumultuous history of the former Yugoslavia, this absurdist comedy of contemporary mores can be appreciated even without intimate knowledge of its specific cultural context.

Fisher's dialogue draws heavily on the original film's intertitles and script directions and the addition of sound is a plus for moviegoers uncomfortable with the artificial embarrassment of silence.

Ivory's dispassionate direction precludes real involvement with the characters, resulting in a peculiarly austere depiction of a colorful era.

Film offers a combination of highly technical jargon and emotional suspense in a well-balanced effort. The technical effects are extremely realistic, making the impact of the film much more powerful.

The entire film, in fact, is one of the better submarine dramas ever made, tense and claustrophobic, with a minimum of dalliances back at the base (in defiance of the Hollywood dictum that no movie without a love interest can succeed).

Something to forget about. In this painfully contrived comedy of Southern manners, Julia Roberts's waning star power finally winks out.

Intermittently snappy and featuring slicker animation than its TV incarnation, this popular children's cartoon may satisfy its youngest fans, but it'll be a big snoozefest for the rest of the family.

Ti West's affectionate homage to no-frills fright flicks keeps it simple and succeeds on its own stripped-down terms.

This strikingly beautiful anti-western is filled with arresting images.

The only surprise here is how a film with so much promise could ultimately settle for so little.

It's a must-see for horror buffs and anime fans; and while it lacks the haunting thematic underpinnings of "Blood The Last Vampire," -- it's a more satisfying movie-going experience.

Well acted (notably by newcomer Brown), warm hearted and utterly predictable, this film is aimed squarely at everyone who loved "Good Will Hunting."

This film got made because Seinfeld is famous, but it's still hard not to wish the filmmakers had devoted a couple of years to following Adams instead. The guy's such a throbbing bundle of arrogance, raw nerves and self-destructive insecurity that you can see the flame-out coming.

A disturbing examination of what appears to be the definition of a "bad" police shooting.

Carrey's relentless showboating is almost its undoing.

Writer-director James Ponsoldt's first feature is a small, modest movie structured around a fairly simple situation that leaves plenty of room for some fine performances.

Fortunately, no amount of optical wizardry and quick-change trickery can disguise the fundamental power of Harper's performance, a revelatory turn that's truly transformative in every sense of the term.

Ferrara's gritty and powerful style makes Ms. 45 a standout.

An enjoyable, light-hearted romantic comedy with some cute incestuous undertones, CHANCES ARE is among the best of the body-switch films that cluttered movie screens in the late 1980s.

Often funny, though just as often tasteless.

Provocative, deeply unsettling mockumentary.

Although the performances by the star-studded cast are generally excellent, only Billy Crystal really manages to transcend the dour misery of Allen's script: His witty turn as a dapper Satan is a blessed relief from the neurotic gloom.

A truly fresh take on the romantic comedy: It's as sad as it is funny, and the boy-girl match so misbegotten you can't help but pray it won't work out in the end. Call it an anti-rom-com, and see it if you can.

An animated parody of the disparity between Hollywood image and reality, this occasionally clever kiddie feature often rises above its straightforward plot.

This cliche-riddled picture was the directorial debut of veteran cinematographer Michael Chapman, who took no risks in his first time out.

Cynical and bloated, Maverick is a comic western whose high-powered cast does very little but looks damned fine doing it. Even fans of the vintage TV show may find it trying.

Bancroft and Mortensen take home the acting awards -- the pleasure they take in what they're doing really makes the film come alive.

Not surprisingly, his ranting soon becomes repetitive and boring. Greenaway's dialogue cannot sustain our interest, and his lack of humor is the film's biggest drawback. For a lover of games, the director is never remotely playful.