For all its shocking content, it remains a rather conventional psychological portrait of Oedipal attraction taken to a disturbing extreme.

Animator Bill Plympton's seventh feature is a must-see for fans of his often witty, always scabrous, hand-drawn work.

The first half of Lover's film is surprisingly affecting...But the film comes apart in its second half, when James' flight triggers a long series of flashbacks to the brothers' childhood.

The story works, in that everything fits together, but the film feels hollow and unfinished, like a run-through for a movie rather than the movie itself.

Romano is no match for his heavy-hitting supporting cast: Next to the seasoned likes of Harden or Rip Torn, who's hilarious as Cole's campaign manager, Romano's presence barely registers. Aside from the charming Tierney, there are no surprises in Mooseport.

Exactly the kind of sporadically clever, button-pushing fright-fest that keeps genre fans hanging on until something more fulfilling comes along.

Boasting an inventive concept, with a nicely nuanced performance from Breaking Away's Christopher, Fade To Black is a creepy little film that, perhaps, doesn't go quite far enough.

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

In the end, the sheer obviousness of Shainberg and screenwriter Erin Cressida Wilson's take on Diane Arbus' perverse determination to examine and document the forbidden overshadows even Kidman's beautifully modulated performance, which takes Diane from brittle neurosis to a vaguely predatory ingenuousness.

This dreary satire of the post-war American family has a small but devoted following. Writer-director Tony Richardson has constructed a complex screenplay based on an even more convoluted novel by John Irving. It's a fairy tale about virtually everything and, as such, will not satisfy everybody. The film is laced with blackly humorous takes on heterosexuality, homosexuality, incest, abandonment, Nazism, masochism--a veritable laundry list of contemporary neuroses.

Haynes's feature debut, is an exercise in cinema of ideas that, while audacious and occasionally compelling, is ultimately less than the sum of its parts.

Decent songs, an amusing script and some surprisingly imaginative animation.

Alec Baldwin and Kim Basinger step into the roles originally played by Steve McQueen and Ali MacGraw, but their attempts to inject steamy romance into the action are undermined by indifferent direction.

Congo, adapted by John Patrick Shanley and directed by Stephen Spielberg protege Frank Marshall, is not one of the better silly action pictures set in gratuitously fake jungles and featuring nefarious foreigners, threatening natives, and talking gorillas.

They don't make movies like they used to, and this Oscar-winning Italian-French co-production spends the better part of three hours proving it.

Although Oliver & Company is fairly entertaining and better looking than the average Saturday morning cartoon show, the computer-assisted animation is relatively stiff and inexpressive.

O'Hara looks like she's just doing Wayne a favor, and Pat Wayne and singer Vinton just don't have much screen presence. These weaknesses plus a mediocre script add up to a very weak Wayne outing.

This short documentary might teach you a thing or two about the electronic instrument that revolutionized the sound of modern music.

Far too long for a movie so unabashedly formulaic, Sylvain White's drama about a kid from L.A. who discovers the world of "stepping" at an Atlanta university uses a propulsive soundtrack and flashy dance sequences to draw attention away from wooden acting and a cliched plot.

This mix of sweat and uplift in the Civil Rights era doesn't quite come off, despite some strong performances and the fact that it's based on a genuinely inspirational true story.

The trouble with this satirical take US involvement in Iraq, penned by Mark Leyner, John Cusack and Jeremy Pikser, is that the real thing is equally absurd and only marginally less funny.

While it is true that nothing all that original happens during the funny parts of the movie either, the family's Puerto Rican heritage gives the movie's comedy a unique spin.

Scott swaddles this fundamentally straightforward revenge story in a jumble of bleary freeze frames, random changes of color saturation and film stock, jump cuts and stuttering montages, splashing text from some menacing word soup onto the resulting collage of chicly disturbing images.

Harkening back to a time when race relations in New York City were even worse than they seem today.

Putting Julie Andrews in a Hitchcock film at all, meanwhile, proves that a spoonful of sugar doesn't help the medicine go down...in the most de-light-ful way. Dull and way too long.

It shares all the original's shortcomings —--it’s too long and too loud and filled with historical disinformation -- but none of the snap that made "National Treasure" fun for kids and a guilty pleasure for some adults.

It's all very well to say that laughter and tears are just a heartbeat apart, but both variations on Melinda's story bear the unmistakable mark of Allen's morose sensibilities.

Ernest Dickerson, formerly Spike Lee's cinematographer, continues to show promise in the director's seat with this solidly made, well-acted survival thriller that is unfortunately limited by its overworked premise.