It quickly becomes clear that Nijinsky's disordered thoughts are simply the rantings of a man losing his grip on reality. They're sad and occasionally evocative, but they're not especially interesting in and of themselves, and do nothing to evoke or illuminate Nijinsky's genius.

Deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill.

Excellent performances from Jacqueline Bisset and Martha Plimpton grace this deeply touching melodrama.

A triumph of art direction over narrative, but what art direction!

A must-see for martial arts enthusiasts.

It starts slowly, but this contemplative drama's cumulative effect is genuinely haunting.

There's some fun to be had in seeing two of TV's resident sweetie pies, Campbell and ER's Noah Wyle, play unrepentant sons of bitches, but it's not enough.

It's a testament to both the timelessness and the prescience of Herman Melville's 1853 story "Bartleby, the Scrivener" that it can be so easily updated with so few changes.

Nolan's intention was clearly to cast the material in a more conventional Hollywood mold without turning it into namby-pamby nonsense, and he succeeds admirably.

Think "The Lion King" redone for horses, with fewer deliberate laughs, more inadvertent ones and stunningly trite songs by Bryan Adams.

Colorful and deceptively buoyant until it suddenly pulls the rug out from under you.

Everett remains a perfect Wildean actor, and a relaxed Firth displays impeccable comic skill.

What the film lacks in general focus it makes up for in compassion, as Corcuera manages to find the seeds of hope in the form of collective action.

This superbly played film, directed with remarkable skill for a first-time feature filmmaker, is truly an adult drama.

Wickedly funny and surprisingly sweet film may be the perfect star vehicle for Grant. He's full of piss and vinegar and has at long last set aside the wobbly, stammering persona best left at "Four Weddings and a Funeral."

Flawed but undeniably provocative and brilliantly acted by Gosling.

And while it was always clear that Lucas cared more about special effects than acting, here his lack of interest has produced phenomenally wooden performances from newcomers and veterans alike: Only the imperious Christopher Lee, as baleful Count Dooku, emerges unscathed.

One hopes Koury will return to this interesting project to flush out the bigger story that continues to lurk just below the surface.

Barney has been criticized as willfully esoteric, but if traditional meaning is once again elusive in this film, it remains an enthralling aesthetic experience, one that's steeped in mystery and a ravishing, baroque beauty.

Happily, a feeling of genuine comradeship among these athletes shines through, and their irreverent, go-for-broke comments are a jolt of fun compared to the usual canned epigrams from pampered sports multimillionaires.

The film's poky pacing is a liability -- the setup takes an awfully long time.

It's a documentary, but the filmmakers couldn't have scripted a more revealing microcosm of profiteering and exploitation.

If ever a movie cried out to be French, it's this one, and not just because it's a remake of Claude Chabrol's notoriously icy La Femme Infidele (1968).

Lame, derivative comedy.

The plot's contrivances are uncomfortably strained, and ultimately your reaction to its featherweight story of love and serendipity will be determined by how charming you find the dithering, slack-jawed Janice.

The effect is one of gorgeous puppets, a removed perspective that makes some of the most powerful political and social events in history seem like the sad, desperate flailing of monkeys.

Gowariker's stunningly choreographed, four-hour spectacle (reportedly one of the most expensive films in the industry's history) is a fascinating mix of Hollywood genres and tropes.

Feels more like a 90-minute pilot for a TV series than a feature film.