Strident and bombastic.

Despite excellent performances all around, the actors can't overcome the script's limitations.

An often spectacular but ultimately rather tedious musical/adventure/comedy.

Dopey "thriller."

Denis dispenses with most of Melville's hefty Christian symbolism in favor of the story's other great theme -- repressed homoerotic desire.

One of the sharpest and emotionally resonant romantic comedies in what seems like years.

As for first-time feature director Mark Piznarski, he should be cited for excessive use of slow motion, sun-dappled trees and golden light; one more cliche violation and his license to direct would be forfeit.

A tale of conscience lost and found becomes little more than a smart but tepid ghost story for idealists and '60s survivors, and not a terribly spooky one at that.

The surprisingly tragic climax may make it rough going for kids too young to grasp the film's comforting message.

Director Sturla Gunnarsson crams each sequence with subtle, telling detail while avoiding "exotic India" clichés.

Such a compellingly repulsive freak show it's hard to pay attention to any serious concerns.

Under the candy coating and girl group soundtrack, the film acknowledges some hard truths about women and education that haven't changed much since the '60s. But it never loses sight of having a good time, and the girls are great.

This film will doubtless interest serious anime fans, but it won't win any converts.

It's larded with blinding glimpse-of-the-obvious homilies.

From its ominous opening to its spectacular climactic stunt, the hypnotic precursor to director Tom Tykwer's "Run Lola Run" is a quieter but creepier affair.

Then there's the utter lack of sexual chemistry between Li and Aaliyah, sucking all the urgency out of the relationship between the star-crossed lovers.

Entertaining -- if predictable.

A behind-the-scenes documentary that manages to be unabashedly sympathetic without being a puff piece.

A fresh and spirited fairy tale.

Serviceable enough, if you come to it with sufficiently modest expectations.

This Australian tear-jerker finds more humor than you'd imagine possible in the story of a dying woman getting to know her adult children.

This grim black comedy from Belgium would be unbearable if it wasn't scripted with such wry humor.

The beautiful ice-blue landscapes are really the only reason to sit through this rambling and rather silly first feature by writer-director Sue Clayton.

The script is heavy on platitudes about friendship, but since there isn't a single fully fleshed character in sight, who cares?

This tale may well weave a more compelling spell on the page; onscreen it's simply ponderous.

A tense geopolitical thriller that leaves a curiously bad aftertaste.

More a reflection in a fun-house mirror than a portrait of the artist.

Unfortunately the whole thing is less than the sum of its parts, despite a frequently droll script and a great performance from Shandling.