The film's greatest asset is Linney, whose prickly, finely calibrated performance as the doomed Harraway makes her loss resonate more powerfully than any of the point-counterpoint rhetoric.

By the film's finale the descent into unintentional parody is all but complete, with a big death scene for Jackson complete with an angelic choir on the soundtrack -- the surprise is that they aren't singing "Dixie."

Though it clearly explicates the problem, the film is by no means a straightforward documentary.

Though filmmaker Nina Gilden Seavy followed Bering Strait for the better part of two years, their story is in no way over at the film's conclusion.

Though overlong and repetitive, Hirsch's film is vitalized by the same music that helped keep the revolutionary spirit alive.

Well intentioned but unfocused, director John Henry Davis's debut feature tries to tackle two serious subjects at once: maintaining one's faith in a universe that's seemingly without meaning, and the ways in which scripture is used to justify anti-gay violence.

The always charming Deschanel manages to rise above most of the film's logy pretensions, but the usually excellent Clarkson isn't so lucky.

A crudely executed affair that doesn't play well to Western sensibilities.

Long takes do not a masterpiece make, and the suspicion that the whole thing is a lark is only bolstered by Damon and Affleck's inability to contain their giggles.

Im distinguishes what might have otherwise been a standard Hollywood biopic through his use of exquisitely composed shots that could have been imagined by Jang himself.

It may be nearly 40 years past due, but it was worth the wait.

The movie's physical violence isn't gratuitous -- it's the emotional violence that makes this a movie for grown-ups, not kids.

The trouble with director and co-writer Laetitia Colombani's debut feature is that the story isn't really interesting enough to be told twice, let alone dragged out another 20 minutes after that.

An unexpectedly warm valentine to the solitary joy of reading in an increasingly post-literate age. It's also a gripping mystery yarn involving obsession, a long-forgotten book and a shadowy author who appears to have vanished off the face of the Earth.

Gitai uses fictionalized characters to dramatize historical reality, and while minimalist in its presentation, the film becomes nearly operatic in its intensity.

Most of the film's humor derives from smug anachronisms (the Brit-pop soundtrack, Wang and Roy's use of modern slang) and jokes about bad English food, teeth and weather that were old when Victoria was a girl.

It would have been nice if Hardwick had a bigger budget for retakes to work out some of the supporting actors' stiffness, but he does keep the story moving, finding the humor in characters caught up in their own machinations rather than cheap wisecracks.

This winning comedy joyfully embraces every possible permutation of love; cupid, it turns out, is indeed blind, and doesn't care much about gender either.

The talented Bettis works her heart out, but McKee apparently directed her to play May as a quivering crazy from the start.

Though something less than a masterpiece of the genre, this good-natured skirmish in the war between men and women benefits from Hudson's thoroughly charming performance.

A paralyzingly beautiful documentary with a global vision: an odyssey through landscape and time, which is an attempt to capture the essence of life.

The jabs at the expense of self-centered New Yorkers with more money than sense are so mild they're pointless -- if satire doesn't hurt, what's the point?

The film should be required viewing for all aspiring filmmakers, but the story's road-accident appeal is universal.

The bad news is that the racing scenes are repetitive and it takes some serious concentration to figure out which character belongs to what club.

Spare, sleek and coolly entertaining, even if there's less to this game of true lies than meets the eye.

If this is your idea of fun, step right up.

Serrau effortlessly navigates the tricky transition from ruefully comic chick flick to gritty crime picture.

Informative documentary.