Gitai's film is an interesting, if not entirely successful, adaptation of an excellent book.

Burnett and Lee's graceful, sympathetic documentary focuses on participants who embody Burning Man's ideals without being blind to the opportunists and party animals it inevitably attracts.

Marvelously entertaining, and occasionally brilliant, political satire.

In the end, you're left to pick your moral: Money changes everything or money isn't everything or both.

Characters lip-synch their dialogue -- badly.

The film is never dull -- no mean feat, given that it spends two hours telling a story whose end is widely known -- and features performances that range from coarsely effective to phenomenal.

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.

Even by the standards of pop-moral parables passing for entertainment, this is bland stuff.

A pretty little package whose perfect, fairy-tale ending is just a little too neat, the film's colorful wrapping includes veteran actress Carol Kane's bizarre but enjoyable performance as the school's uptight drama teacher.

Scene-stealing cameos by Matt Damon and Lucy Lawless and the very catchy pop song that becomes a leitmotif for Scotty's pain are among its less-raunchy (comparatively speaking) highlights.

Romano is no match for his heavy-hitting supporting cast: Next to the seasoned likes of Harden or Rip Torn, who's hilarious as Cole's campaign manager, Romano's presence barely registers. Aside from the charming Tierney, there are no surprises in Mooseport.

Haroun and cinematographer Abraham Haile Biru carefully frame their characters with a painterly elegance that is at times truly startling.

Every frame gleams and the camel -- a double-humped wonder whose unusual majesty and quiet mystery drives this wonderful film -- is magnificent to behold.

Sentimental and predictable, Meily's sweet-natured feature-film debut was hugely popular in the Philippines; its day-to-day details will be exotic to non-Filipino audiences but the characters' dilemmas are couched in the universal language of sitcom complications and fortuitous resolutions.

The film's shortcomings notwithstanding, it's a must-see for Swinton fans, who can select a favorite among four different variations of their idol or simply adore them all.

The kind of movie for which the term "video baby-sitter" was coined.

This excellent film, which is both uplifting and troubling, also makes crystal clear what Peter gradually gives up in order to fit in as best he can: His culture.

Belvaux is no Douglas Sirk, but the film is an admirable, if uneven, conclusion to an audacious project.

Sandler's shtick is the main thing dragging down this otherwise pleasant romantic comedy, but he's come a long way since the crude, juvenile "Billy Madison" (1995).

Of course, no creepy movie worth its salt would be complete without an appearance by Udo Kier, and Parigi doesn't disappoint: Kier appears as Kenneth's louche, hookah-smoking next-door neighbor and, as always, is a disturbing delight.

Ostensibly about artificial life forms, each of these four short, expertly crafted stories offers a poignant perspective on what it means to be human.

Comprehensive and reverential.

Boursinhac and Bibi Naceri throw all the usual elements into the pot: Economic inequality, ethnic tensions, feverish family ties and the titular criminal code, which everyone invokes and everyone agrees is a load of claptrap.

Beautifully shot against Iceland's frozen landscape, the film is nearly as spellbinding as its strange heroine, whose essential mystery Gudmundsson preserves until the film's final frames.

By inflating the life of a common shop girl into a musical spectacle, Demy succeeds in turning a tedious existence into a fantasy, yet he and cinematographer Jean Rabier and art director Bernard Evein do so without creating a false world. [review of original release]

The film serves as a potent reminder of what conditions were like in Afghanistan before the U.S. bombing campaign ended the Taliban's reign of terror, and, as such, its timing couldn't be any better.

Lacking the thematic depth of "On The Run," this brisk, bubbly jape never really transcends the genre it's emulating, and your enjoyment of the film really depends on your tolerance for bumbling misunderstandings and improbable coincidences.

Ice Cube is so genial and laid back it's hard to believe he's the same snarling thug who ass-kicks his way through action pictures, let alone the seethingly angry rapper who emerged from NWA in the early 1990s.