Tthough it comes wrapped in a stylish French mantle of feminist rage and sexual empowerment, the picture ultimately belongs squarely in the tradition of rape revenge pictures.

Informative documentary.

If not an entirely successful film, it's a bold and haunting one.

That Techine manages to coax a somewhat happy ending from this staid, somber film is heartening proof that what doesn't kill us might indeed make us stronger.

Not as good as other Christie adaptations such as MURDER ON THE ORIENT EXPRESS or DEATH ON THE NILE, but still fun.

Based on screenwriter Susan Isaacs' first novel, the film is nearly undone by Frank Perry's lazy direction. Good performances from the entire cast, especially Sarandon, save the movie.

While many films of this kind are undermined by amateurish performances, the main cast is solid and some of the supporting performances (many from non-professionals) are small gems.

[An] effective but uneven work, which chronicles a woman's search for self.

Though "Pulp Fiction" is the obvious point of reference, but this hugely entertaining Mexican crime comedy is actually closer in spirit to "Go," Doug Lyman's underrated 1998 lark.

Bynes is a charmer who adeptly straddles the line between romantic heroine and physical comedienne, while Firth is extremely enjoyable as a befuddled father.

A compelling but oddly empty film.

A terrifically droll satire on both horror movies and American middle-class values. Despite the subject matter, our hero and heroine emerge as genuinely sympathetic characters, which ultimately makes one wonder where the film's true sympathies lie.

If ever an English-language film needed English subtitles it's this.

Pure melodrama, but stylishly done, with finely tuned performances played out against meticulously realized settings.

Members of what used to be referred to euphemistically as the "raincoat crowd," will probably enjoy Winterbottom's experiment more than most.

Youth exploitation pictures were all the rage at the time, and while this is better than some in execution and intent, it's still exactly that.

Expertly captures the details and textures of the time without condescending or lapsing into cheap-shot parody.

For all the "touched by an angel" sentimentality, the movie's eerie, slightly menacing vision of black-clad angels lurking in the shadowy corners of unsuspecting lives is genuinely haunting.

It's a compelling story, and very of its tumultuous time.

It's an enjoyable ride.

Screenwriter Christopher McQuarrie's tough-guy dialogue and Bryan Singer's crisp direction give the ensemble cast every opportunity to shine, and they do.

Overall it's an enjoyable cruise down the Garden State Parkway, and Affleck and Castro are charming companions.

Although Sonny is computer generated, Tudyk supplied his voice and body language -- provides the story's emotional core, an irony Asimov would surely have appreciated.

While not as poetic or haunting as Edgar Ulmer's The Black Cat, The Raven is a remarkable tale of revenge, and memorable in its own right.

It's a bad sign when audience enthusiasm peaks during the credits sequence.

The film's real star is the stunning Montana landscape, beautifully captured by cinematographer Paul Ryan.

Holmes's story isn't pretty, but it's fascinating, in no small part because the people Paley interviews offer a glimpse into a brief time when making porn was an act of rebellion that attracted a diverse and eccentric group of filmmakers and performers.

Even after it becomes clearer which side of law Harris is operating on, the film continues to work as a taut -- if violent -- police thriller.