It's Jagger's bone-dry, mournfully brittle delivery that gives the film its bittersweet bite. Michael Des Barres and Anjelica Huston make the most of their supporting roles.

The subject may be familiar to those who happened to catch the 1998 documentary "Port of Last Resort," but this remarkable true story certainly bears repeating.

Feather-light and proudly goofy, this Jackie Chan action comedy appears to be aimed squarely at under-12s.

Overall, the film is occasionally interesting but essentially unpersuasive, a footnote to a still evolving story.

Fluff in the tradition of Hollywood's screwball comedies of remarriage, lacking the wit or grace of such classics as "His Girl Friday" (1940) and "The Awful Truth" (1937).

An occasionally surreal meditation on coping with loss, and a love story with a dark side the size of Montana.

The case is a convincing one, and should give anyone with a conscience reason to pause.

Eisenstadt has an unerring sense of comedic rhythm and a knack of cutting away just in time to extract the drop of humor from a potentially pathetic situation.

David Lean's splendid biography of the enigmatic T.E. Lawrence paints a complex portrait of the desert-loving Englishman who united Arab tribes in battle against the Ottoman Turks during WWI.

Solid and engrossing melodrama.

Watching Sarandon and Hawn sashay through their paces is its own reward.

The film's center will not hold. Either crucial scenes were cut (perhaps for length) or Kapur has a problematic sense of narrative structure; sometimes it's unclear who's doing what to whom.

Hauser and Miles go for broke, lobbing their every comic idea at the screen. Some work better than others, and overall tomfoolery like this is a matter of taste.

Before it takes a sudden turn and devolves into a bizarre sort of romantic comedy, Steven Shainberg's adaptation of Mary Gaitskill's harrowing short story about dominance, submission and the twisted sexual dynamics of the work place is a brilliantly played, deeply unsettling experience.

Steers clear of historical accuracy. Herzog is obviously looking for a moral to his fable, but the notion that a strong, unified showing among Germany and Eastern European Jews might have changed 20th-Century history is undermined by Ahola's inadequate performance.

The tiny, impassive-faced Liu is a disaster. She looks cute in her custom commando gear, but she's not actress enough to make Sever's ridiculous, faux hard-boiled dialogue sound like anything but the formulaic nonsense it is.

Imagine the John Waters remake of an Agatha Christie mystery directed by Douglas Sirk, and you'll get some idea of the tone of this retro musical melodrama, which features a cast whose combined wattage could eclipse a small solar system.

Serenely stunning.

Boasts spunk, imagination and a strong performance from Smallville's very talented Sam Jones III.

First-time feature filmmaker Oliver Hirschbiegel maintains a riveting sense of simmering brutality.

Elvira fans could hardly ask for more.

If the ending isn't conventionally happy, it's certainly deeply satisfying.

Bright, who reworked co-writer Stephen Johnston's screenplay, changed all the names except Bundy's so he could "make up stuff," but the irony is how close to the facts -- at least to the degree they're known -- he stays.

Never has the adage "You can't help who you fall in love with" been more lavishly illustrated than in this historical drama.

The film lacks the turbulent social context of the 1950s and '60s that lent resonance to the personal uncertainties of Ibgy's forebears -- Holden Caufield, Ben Braddock, et al. But Culkin has a way with quip-heavy dialogue that transforms what might otherwise been irritatingly, solipsistic posing into a great performance.

Inlike many directors with music video backgrounds, Tim Story keeps the flashy cutting to a minimum and lets the story unfold at its own unhurried pace.

The entire cast is extraordinarily good -- many of them are, after all, actors by trade -- but throughout, Zhang is keen to remind his audience that this is only a dramatization.

Two idiots embark on a life of crime to help a deserving teenager attend Harvard in this lowbrow but generally sweet-natured comedy.