The action sequences are so franticly dizzying that they make "Run Lola Run" look as though it unfolds in slow motion.

This psychological sci-fi thriller was originally made as a 40-minute segment of an unrealized portmanteau picture, then expanded into a freestanding feature. That's probably why it's padded with shots of Olham running down corridors.

Overall it's a frustratingly uneven movie, delicate at one moment and bluntly obvious the next.

The acting is similarly accomplished across the board, though it must be noted that Currie nearly walks off with the film: He's the funniest preppie seducer since Tim Matheson in "Animal House" (1978).

Since her claim to fame is having brought the first living panda -- a cub named Su Lin -- out of China, Harkness's success is a given, but the footage of pandas in their natural surroundings is enchanting.

A gallon of grade-A filmmaking fuel squandered on unoriginal material, but serious moviegoers will want to take a look.

A bit of whimsy.

The whole thing, script, acting, and especially Penn's heavy-handed direction, is bizarre. Yet there's a perverse joy in watching Brando and Nicholson try to compete with each other in mugging, switching accents, and mannerisms that could only be found elsewhere in institutions like the Bellevue Insane Asylum.

The voices of the architects, developers, public officials and contractors here discussing the specifics of particular sites, we're hearing the voices of a conflicted nation as it considers how to handle its tumultuous past while defining itself for future generations.

Sweet, likable and consistently engaging, if so insubstantial that it's always on the verge of blowing away.

Pekar's autobiographical chronicle of day-to-day banality is a rich, if dingy, tapestry of ordinary life in all its infinite, homely peculiarity, which filmmakers Sheri Springer Berman and Robert Pulcini bring to uniquely eccentric life.

This lively and nicely timed comedy has plenty enough, farce, slapstick and even drawing-room humor.

De Marken and Freeman preserve the group dynamic by dividing the screen into six parts, each mini-frame capturing actions and reactions from a different camera angle, and while the film drags in spots, the performances are unusually powerful.

The ensemble performances are perfectly meshed, and the Sprechers deserves special credit for bringing the desperate underside of Posey's brittle self-assurance to the surface.

MacKinnon's film draws on his past as a youth worker and features a standout performance from first-time performer Harry Eden.

The power of an otherwise carefully crafted film is undone by risky and not altogether successful casting.

This second installment is heavy on battle sequences, which will thrill some viewers more than others.

Beautifully shot and subtly rendered, but too slowly told for its ambiguities to really be effective.

His (Ross) sophisticated handling -- and the efforts of his able cast, notably the stellar Joan Allen -- produces a surprisingly accomplished cumulative effect.

Daring, ultimately heartbreaking.

This entertaining and erotic picture, while perhaps not the most challenging film to come out of Brazil in the 1970s, is nevertheless enjoyable. (Review of original release)

The plot is a bit busy but the performances are solid, even though Douglas seems to be doing a reprise of his role in OUT OF THE PAST (1947) as a cruel, unfeeling villain.

The picture comes to life only when Sellers is onscreen, and the rest of the time it's just vamping.

Eastwood keeps things moving at a furious pace and the series' formula of having a steely-eyed "dinosaur" like Harry cutting through the red tape and vanquishing the scum of the earth remains irresistible.

Ultimately the sci-fi fillips — human cloning, memory wipes, empathy viruses — are subordinate to screenwriter Frank Cottrell Boyce's doomed romance.

An early and sometimes funny effort by director Demme but the hilarity of the subplots (especially the bigamous Napier) swallows the main storyline.

Natali's film has a fabulous look, a nerve-wracking, claustrophobic mood, a number of genuinely suspenseful set-pieces and some sublimely stomach-churning special effects.

Flawed but undeniably provocative and brilliantly acted by Gosling.