It's actually quite interesting, albeit in a supremely self-conscious and artsy-fartsy way.

The pacing is suspenseful and acting is actually pretty good, even if accents are no one's strong suit.

This charming and funny film may be one of the last of a rare genre deservedly named after a person -- the Woody Allen movie.

The melancholy joke - if you can call it that - is that the pall of global mediocrity has erased national differences and turned women like Tamiko and Amanda into ghosts drifting through their own lives.

Slickly animated and cleverly written.

Martial arts spectacles don't come more spectacular than this, and Yuen bestows a quality of grace on the entire production.

Yes, the story is pure formula, though given less twinkle and lip gloss than Hollywood would have brought to bear on it; the film is so remake-friendly you can cast it in your head.

Lumet develops his story at a leisurely but effective pace, allowing the dynamics of a family in transition--not the sudden appearance of the FBI or an action-paced chase--to give the film its tension. Phoenix delivers a convincing, serious performance, and the rest of the cast, save for the miscast Hirsch, is also strong.

Sweet-natured charmer in its own right.

D.A. Pennebaker and Chris Hegedus's record of the event is an invaluable document, its technical limitations notwithstanding.

The story is simple enough for young children to follow, and the computer-animated images are both bright and surprisingly complex. Adults won't find the action heart-stopping.

The very loose plot of WILD STYLE serves mainly as an excuse for rap-and-dance numbers and the sight of prominent East Coast graffiti artists playing themselves, sometimes with magnetism and panache (Brathewaite), sometimes without (everybody else).

An offbeat Italian western that has a sense of cocky fun about it.

A funny if somewhat retrograde film.

Yash Chopra's thinly veiled plea for reconciliation between India and Pakistan is cloaked in a decades-spanning Romeo-and-Juliet romance.

A terrific showcase for a troupe of fine actors who rarely find work outside the Australian film industry.

As a director, La Salle manages to sustain a mood of looming menace almost throughout, and as an actor he gets the film's best joke: When his Satan fills out his hospital admission form, he gives his social security number as 666.

A little too much talk and not enough action, but it's still fun.

Not only one of the most spectacular cartoons ever made, but also a reasonably adult piece of sci-fi.

The documentary is undeniably entertaining, but it suffers from an uneven selection of clips, sloppy historical research, and, ultimately, an overabundance of riches.

Brisk, glossy and gloriously art-directed, Scorsese's lavish biopic is a pop trifle, engaging but not compelling.

(Bassett's) finally been given another part worthy of her talents, and she makes the most of it.

Dense collage of digitally altered images often looks shockingly like some super-hip media agency's show reel.

Well-acted, likably small-scale, full of good intentions, but hardly a corker.

A sleazy, seamy, flashy, steamy, vulgar exploitation thriller that revels in every minute of its own trashiness and delivers some pretty solid -- if prurient -- entertainment before strangling in a one-twist-too-many ending.

This lushly produced, lightweight romance embraces every cliche of the genre without so much as an ironic shrug.

Though Bittner's slacker charm may not be to all tastes, the parrots are natural-born scene-stealers with more than enough charm to seduce the most dubious viewer.

This remake really can't compare with the 1932 original and Lee is given no chance to flesh out his character in the haunting manner that Boris Karloff did, but for fairly standardized movie horror, this flick isn't half bad.