A disturbing, wonderfully acted, well-scripted, and suspenseful study of a murderous 13-year-old girl.

Granted, the film is a technical marvel: The many chases through rooms, under floors and behind walls -- including one very scary encounter with a nail-gun -- are all done to jaw-dropping, state-of-the-art perfection.

The movie's refusal to treat young girls like silly tramps-in-training is almost radical: It's just good, clean fun and actually offers children of a certain age a role model even adults can feel good about.

Zwick frequently sacrifices dramatic urgency in the name of sobriety.

Mark Boone Jr. makes a vivid impression as eccentric loner Beau Brower, and Danny Huston is mesmerizing as the leader of the shrieking, slashing, wallowing-in-gore bloodsuckers. They effortlessly eclipse the rest of the cast.

This is a fast and funny film that will appeal to viewers of all ages. The kids are particularly good, lacking any cloying cuteness. The Aussies sure have a way with chase films, keeping the moves motivated and logical, with no gratuitous cars flipping over and burning.

It's a mainstreamed, big-screen version of the bowdlerized, endlessly syndicated version of the show, not the raunchy original.

A big success in Europe, the film has already spawned two sequels, the first of which is due to be released in the fall.

The ensemble is a tight one that places the audience right in the middle of the nightmare.

Despite the overplotting, there's scarcely any of the characterization that might have made some of it interesting.

Stripping away the false glamour generated by pop culture's undying fascination with the Mafia, this hour-long film tells the tragic but inspiring story of a 17-year-old Sicilian woman who risked — and ultimately lost — her life in order to reveal just what a nasty bunch they really are.

An oversized National Georgraphic special whose images of the Nile and Egyptian ruins are absolutely breathtaking on the oversized IMAX screen.

The mixture of action, drama and romance isn’t as potent, and Kaige’s reliance on subpar special effects hurts the movie. Wu xia fans will still find things to like, but the uninitiated will probably find this slow going.

Oshima's ambitious film is not without faults, but these are overshadowed by its emotional power.

Pinter's adaptation is uninspired, and this half-heartedness, combined with Schlondorff's heavy-handedness, serves to crush Atwood's feminist concerns through overkill and to turn a provocative novel into a screen polemic that invites no discussion. This isn't filmmaking; it's haranguing by celluloid.

The film is as beautiful as it is unpredictable.

However deep the divide currently separating the Middle East from the West appears to be, there's at least one thing we can all agree on: Albert Brooks isn't all that funny anymore.

Claustrophobic, jittery at times, and electric in pace, Quarantine is a stripped-down bloody thrill ride that -- while certainly not catering to everyone's tastes -- should satisfy gore-hounds looking to step up their theatrical horror cuisine beyond the usual creepy little kid rehashes.

Smilovic's rapid-fire, Tarantino-esque dialogue is consistently razor-sharp, and the elaborate set design - which leans heavily towards shiny, riotously patterned wallpaper - is an eyeball-jangling blast.

Richly atmospheric but a little thin in the character department: It feels oddly truncated, despite nicely textured performances.

Wahlberg acquits himself well, and the supporting cast -- which includes pioneering rocker Levon Helm in a scene-stealing cameo as an aging gun buff who knows a thing or two about cover-ups, Ned Beatty as a corrupt politician, and a Strangelovian Rade Serbedzija -- is so strong you almost wish the film were longer so they could have more screen time.

Though a minor work, this worldly comedy is handsomely staged, and Hitchcock's dry wit is already in evidence.

Ultimately, the film feels unfocused and attenuated, despite its brief running time.

Kapadia's intelligent, nuanced performance is the film's highlight, balanced by Khanna's portrayal of Nashaad, who could easily be a patronizing, chauvinist caricature.

Without question the breeziest viewing experience now available at a multiplex near you.

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.

Screenwriter and co-director West -- who works in gay porn -- evinces an easy and even-handed familiarity with the milieu, and his characters only occasionally lapse into broad caricature.

Sidney Lumet's overblown direction strips the story of its magic, Ross is too old for the part and never quite captures Dorothy's innocence, and Pryor is wasted in a film ill-suited to his talents.