By the time it's over, this deeply unsettling tale of romantic obsession strays far from the usual course of teen flicks and into some very dark territory.

Though the movie is clearly meant to work on its own, the relationship between Starling and Lecter plays best if you're familiar with "Lambs."

It's extraordinarily sexy: The atmosphere is all cigarette smoke and Nat King Cole songs, silk suits and tight sheath dresses.

The only surprise here is how a film with so much promise could ultimately settle for so little.

It's a far more interesting film; unfortunately, it's locked inside a maudlin coming-of-age story that barely registers.

A coarse and unappealing black comedy.

Breezy, surprisingly poignant Spanish film.

This picture's b-movie values probably play better on video than in theaters.

So silly it's best taken ironically. But the film, much of it shot digitally, is also astonishingly beautiful.

Director Jamie Blanks "Urban Legend" appears to be carving himself a career making slasher movies for a new generation; unfortunately, he's in no way improving on the originals.

If you try to imagine a breezy Cary Grant movie in which Grant makes penis and fart jokes, you'll have some idea just how wretched it is.

Goofy and inconsequential, but pretty damned cute.

His (Finkiel) ability to control economical dialogue with subtle but unusually powerful images -- haunted faces peering out from behind foggy bus windows; train tracks that once carried other passengers to a death camp -- lend this quiet, unforgettable film an uncanny power.

Brilliantly acted and lugubriously paced, Liv Ullmann's fourth feature as director — the second written by her mentor, Ingmar Bergman — will no doubt be manna to those who miss the brilliant acting and lugubrious pace that characterized Bergman's late-period films.

A likeable, if somewhat whitebread, farce in the Woody Allen mode about love in the big city.

Your ability to overlook the film's myriad contrivances will ultimately depend on how you react to little De Roma.

That rare, unfortunate thing, a total misfire of a movie.

Hugely smug and annoying.

Short on action but heavy on ambiance, and the cumulative effect packs a whopper if you're willing to stop and think about it. Penn, never one to opt for action over thought, clearly expects that his audience will.

Smacks of a certain kind of TV movie filled with pious uplift, even as it makes token concessions to contemporary lifestyles.

Barak Goodman and Daniel Anker have done a tremendous job of sorting the facts from a tangle of fictions, and include perspectives from a wide variety of experts and testimonies from a surprising number of surviving eyewitnesses. Together, they do the whole, horrible episode justice, something awfully hard to come by in the state of Alabama in 1931.

More isn't always better; everything feels slightly forced, and the funny bits -- make no mistake, there are several -- are all but lost in the noise.

From the opening lines to the epilogue (one of the film's few misfires), this taut first feature from TV producer and novelist Henry Bromell sustains a taut mood of unease and isolation, and the ensemble performances (TV starlet Campbell's included) have the qualities of the highest-caliber stage work.

There's so much going on it's hard to keep track, and after a while you may be tempted to give up.

Each scene is beautifully written and exquisitely shot, and the sum total is an unusually perceptive picture of urban loneliness.

Holmes's story isn't pretty, but it's fascinating, in no small part because the people Paley interviews offer a glimpse into a brief time when making porn was an act of rebellion that attracted a diverse and eccentric group of filmmakers and performers.

An utterly formulaic, teen-oriented romance whose greatest asset is charming leads Julia Stiles and Sean Patrick Thomas.

Ironically, the filmmakers seem to think the audience for this movie about super-smart people is super-dumb.