If there's a strong sense of urgency behind director Kim A. Snyder's enlightening film.

This rather obvious parable about soul mates benefits from luminous B&W cinematography, Paradis and Auteuil's luminous performances and the picturesque carny atmosphere.

This small-scale film isn't for all tastes. But veterans of the dating wars will smirk uneasily at the film's nightmare versions of everyday sex-in-the-city misadventures.

The creepy set pieces are repetitive and the payoff is rather unsatisfying, even though the prophecies do eventually pan out.

The cast is aces, and Peter Morgan's screenplay is both very sharp on male sexual politics and crammed with enough comic twists and turns to keep you interested.

Sad, leisurely road picture.

As a standard science-fiction film, 2010 is fine. It has all the right plot elements, dramatic tension, and eye-popping special effects. The performances are uniformly good, the space-adventure scenes are excitingly handled, and the reappearance of HAL 9000 and Dullea is downright eerie. Yet it's hard to get over the fact that the purpose of this film is to tear down all the awe-inspiring effects of 2001. The sequel simply fails to fascinate and awe us like the original did.

Newcomer Grace seems born to the part of an unformed young woman whose character cries out to be shaped, but it's Ivey's unobtrusive skill that shapes their onscreen relationship into something thoroughly convincing.

The film is filled with the kind of choreographed carnage that became synonymous with Hong Kong action during the genre's heyday, but there's an elegiac self-consciousness to it all that acknowledges that while the best is behind us, there's still something to be said about its passing.

Vividly photographed in shimmering colors and driven by a propulsive score.

Director Gary Winick serves up enough giddy fun that it's easy to turn a blind eye to the film's skewed sense of time and minor anachronisms.

Lavishly costumed and shot largely on location, the film benefits from a phenomenal central performance by Lopez de Ayala.

Clever though the premise is, the film's real strength is the smooth banter between Sam and Devon; it's never less than smart, often startlingly perceptive and always thoroughly convincing.

Lightweight, thoroughly charming fluff.

Director Dennie Gordon keeps the pace brisk, and between makeovers and pratfalls, the girls deliver an easy-to-swallow dose of girl power.

It's actually a clever commentary on documentary filmmaking, an pretty good monster movie to boot.

Although occasionally bleak, the film affords many pleasurable moments, showing early man learning to laugh and expressing delight and amazement at the sight of fire.

Davis' tough, man-of-the-people narration is often annoying, but his words can't diminish the power of his story.

Ichaso tells Piñero's story through a sometimes disorienting series of flashbacks and flash-forwards, fracturing the time frame to suit the film's internal rhythms, rather than any coherent time line.

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

The first two thirds of the screenplay by Aja and cowriter Gregory Levasseur is a relentless exercise in bare-bones nastiness.

While the script contains trite and unbelievable dialogue, the superbly convincing performances make up for these faults.

An accomplished film that carries with it the unshakable feeling that we've seen it all before.

Chilling special effects highlight a rather gory production.

The plot's preposterous and Affleck is way too callow for a role that would have fit Robert Mitchum like a second-hand suit.

Features generally crisp dialogue, solid performances by a mix of newcomers and familiar character actors, and Provenzano's direction is strikingly accomplished.

Whether you take the film as a deliberately vile act of filmmaking that unpacks rape-revenge scenarios while making a point about male desire, or simply as a deliberately vile piece of filmmaking, one thing is certain: It's about as close to a physical assault on viewers as movies get.

Is this sophisticated humor? No. But it is pretty entertaining.