Often clever but fundamentally shallow, this shaggy-dog story is greatly enriched by its extraordinary bluegrass soundtrack, supervised by T Bone Burnett and performed by a phenomenal collection of artists.

Rarely has mental illness been depicted so subjectively and seemed so immediate: John's daily struggle to determine what's real and what isn't becomes as palpable as it is poignant. It's also a touching testament to the love and dedication of John's family.

The film is at heart a look at a unique slice of Americana, particularly an opening montage in which we realize that football here is a cradle-to-the-grave proposition -- literally.

Another of Cassavetes' puzzling, personal, neurotic, and often brilliant productions that would have benefited from editing with a scythe.

Hilarious spoof of the classic Universal horror films of the 1930s and early 40s, with Abbott and Costello playing railway porters who unwittingly deliver the "undead" bodies of Frankenstein's monster (Glenn Strange) and Dracula (Bela Lugosi) to a wax museum, where the bodies are revived.

Everything a disaster movie should be, a combination of soap opera and the spectacle of destruction.

Danny Boyle's effective psychological thriller.

A surprisingly tight, clever, twisty heist tale.

Actress Jane Horrocks is so good in this drama that you'll hardly notice -- or care -- that the rest of the film isn't quite up to snuff.

In different hands and different lands, the same story could easily have been a pretentious bit of "Red Shoe Diaries" piffle. But exceptional performances and the oh-so-Frenchness of the complications instead produce an erotic tale that plays like the best gossipy story you ever heard about people you thought you knew.

Cheadle and Ejiofor are riveting together; they have the kind of apparently effortless chemistry that makes every scene they share a delight. With a dynamite soundtrack under their feet, the two of them rock the house.

The highly polished production is well paced and imaginatively directed, although the happy union of prince and pauper is harder to swallow in 1981 than it would have been in 1931, when cinematic escapism brought relief to depression-era audiences.

Young Man With A Horn suffers from excessive melodrama, but boasts several fine performances and plenty of enjoyable jazz.

Without slavishly imitating the photographer's distinctive style, Almereyda also manages to connect his own images to all that's "Egglestonian" in the photographer's world.

Amazingly, many of Jack's and Ina's letters survived and -- read aloud by Dutch actors Jeroen Krabbe and Ellen Ten Damme -- serve as the thematic thread that runs through Ohayon's film.

Dialogue is kept to a bare minimum, but the film's complex underlying sound mix -- a subtle symphony of faintly heard voices and the muted sounds of cars -- adds a haunting texture to what could have been the slightest of stories about a woman's ephemeral victory over emotional numbness.

Both Robertson and Keuck are frighteningly good, and director Coccio imagines their home movies so effectively that his film comes dangerously close to being a how-to manual for aspiring classroom spree killers.

Even if you're feeling a little numbed by the spate of films dealing with 9/11, make an exception for this important documentary.

The film is sponsored by Lockheed Martin with the cooperation of NASA, both of which are deeply involved in the development of the ISS, so it's not surprising that none of the questions that have swirled around this project -- like, who'll foot the bill if any one country defaults on its contribution? -- are answered, or even addressed.

It's fun for awhile, but soon the sheer lunacy of it all wears thin as Corman keeps trying to top himself.

It's all mindless, absurdly complex and hopelessly hip in that 1960s sort of way, but an agreeable way to pass the time with gorgeous Sophia.

Cage creates a homey and thoroughly likable character who earns the respect of the audience, but Hunter is the real surprise. Appearing in her first starring role, the stage veteran displays so much energy that she forces the audience to pay attention.

The result is undeniably gorgeous, but it's all busy surface, beautiful bodies and ironically absurd plot contrivance, occasionally awkward references to political events in '70s Spain notwithstanding.

While Edward Norton convincingly portrays both the good and bad side of his conflicted man, a great deal of the insight into his character comes from the strong supporting cast.

An exciting mix of science fiction, cop thriller, and buddy film, The Hidden is one of the most exciting and unique genre hybrids.

Knightriders is overlong and at times fairly undramatic, but for viewers who stick with it and accept the premise, there is much of interest to be found here.

Although not as powerful, impressive, or exciting as Suspiria, Inferno is still intriguing, effective, and stylish enough to make the narrative unimportant.

Zentropa is as muddled as it is stylized.