But what truly distinguishes the movie is Cage's performance, which is so off the wall that even if you don't like it you have to watch in awe.

Actually a moody horror story disguised as a documentary, designed to make the viewer feel how arbitrary and fragile the world of law and society really is.

A continuous stream of verbal and visual gags that come so fast, you don't have time to realize how bad/old/corny they are.

It's not only sexy, clever and well-acted by a fine cast of mostly TV actors, but it's also a grown-up comedyabout honest-to-God grown ups.

Wood's drama packs an emotional gut-punch that's all the more devastating for its being rooted in a dreadful historical reality.

The stripped-down production give a disturbing sense of immediacy to an otherwise fairly conventional story about boys being prepared for war.

A move that would be hilariously absurd if it weren't so scary.

Hamer perfectly captures that post-WWII spirit of better living through science by positioning streamlined Swedish cars and hump-backed trailers against the timeless Norwegian landscape.

For many, the soundtrack to this beautifully shot film will probably mark their first encounter with Traore and the intoxicating sounds of his unique brand of Malian blues. Chances are it won't be their last.

By the end, it should be perfectly clear just why Cho is so loved by so many different types of people. Raunchy though her material is, it embraces all comers, regardless of gender, sexuality, race or ethnicity. And it's never been sharper — or funnier — than it is here.

Funny, sexy and very cleverly done.

The most affecting parts of this film are its quieter, character-driven moments, and it's beautifully acted; if there is indeed an "Argentinean New Wave" afoot, Brédice might be its Anna Karina.

He (Anderson) manages to guide his cast of characters through an epic story of self-delusion with a skill and grace that many more experienced filmmakers would be hard put to match.

An unexpectedly warm valentine to the solitary joy of reading in an increasingly post-literate age. It's also a gripping mystery yarn involving obsession, a long-forgotten book and a shadowy author who appears to have vanished off the face of the Earth.

There's terrific chemistry between Perez and Auteuil.

What begins as a sorry exercise in cynical seduction becomes a case of amour fou.

Moviegoers expecting a conventional sci-fi fantasy will be disappointed; Haneke never explains the vague disaster, nor does he offer any definitive solution.

But once you're good and drunk on the look, details like the tin-eared tough-guy dialogue (which sounds especially stilted issuing from flesh-and-blood mouths) don't seem so important.

Though it offers a host of fine performances in a smoothly crafted, adult drama of unfulfilled love, it lacks the cumulative dramatic impact of the team's best work.

The theme--that just beyond the edge of the perfectly normal lies the truly bizarre--is realized with intelligence and visual flair.

This modest film delivers a simple but powerful message:... the real work of creating a lasting peace must be done on an personal level, one individual at a time.

SIDEWALK STORIES has more heart than art, but its heart is large, and Lane proves himself an ambitious, impassioned filmmaker.

With its quiet pacing and dry-as-a-bone wit, the film strongly recalls the deadpan comedies of Jim Jarmusch or early Hal Hartley, but it gradually reveals a welcome new sensibility, one that's entirely McCarthy's own.

In a glove-fitting role, Hutton blasts her way on and off screen as the sharpshooting Annie Oakley Mozie. (Review of original release)

Carrey's relentless showboating is almost its undoing.

It takes place in an artificial world constructed largely from the mythology of other movies, and, though it's both seamless and stylish, some find it a little too self-conscious for its own good.

Achieves what Hollywood never quite gets right: a tense and timely thriller that also serves as a political and a moral allegory.

This smart political thriller gets pulses pounding with no pyrotechnics and only one car crash. And it's a doozy.