Less a history of a specialty that scarcely existed before the '70s -- men habitually donned wigs and dresses to double for women -- than a portrait of two women, one beginning her career and the other in the twilight of hers.

It's a fascinating story teeming with pride, arrogance, greed and overweening hubris, and Gibney attempts to give it all an added dimension by finding the archetypes of Greek tragedy among the sleazy deals and Ponzi-scheme financing.

This otherwise amiable family film plods whenever the action returns to dry land.

It's too fundamentally light-hearted to wallow in grinding poverty and despair.

The film is slow and somber during the windup but pretty scary in the follow-through.

Were it not for Kumar's luminous charisma, the film would be unwatchable.

A goofball gore picture with aspirations to cult status.

Ferociously entertaining.

First-time feature director Andrew Douglas, whose advertising background is evident in every frame, brings lashings of style but no sense of real horror to the recycled script.

The war between highly specific coming-of-age angst and icky-sticky overcoming-adversity cliches eventually brings the whole thing down.

Negrin's film is a well-deserved tribute to a principled man who dared to act when principles no longer counted for anything.

Raunchy without ever devolving into flat-out prurience, Berger's oddly sweet comedy perfectly captures the naivete of the era and the unexpected wholesomeness of some of its adult entertainment.

Hartley's score is lovely and he makes excellent use of digital video, but the film's paucity of provocative ideas is its undoing.

Clever though the premise is, the film's real strength is the smooth banter between Sam and Devon; it's never less than smart, often startlingly perceptive and always thoroughly convincing.

Palindromes read the same way backward and forward, and Todd Solondz' sour tale ends where it begins.

Dash and screenwriter Adam "Blue" Moreno abandon the stone-faced seriousness of the first film for a more playful approach, goofing on gangsta' poses and colorful hood-speak.

It's not a pretty picture, but it's an important one.

The greatest hits of '70s bar-rock soundtrack - "We're an American Band," "Right Place, Wrong Time," "Sweet Home Alabama," "Magic Carpet Ride" etc. - has a certain rollicking, kick-ass energy that, unfortunately, never rubs off on the movie.

If you're rooting for Barrymore and Fallon, then why not their team? In the movies, there are enough happy endings for everyone.

A giant leap forward in Stephen Chow's ongoing assault on Jackie Chan's status as reigning balletic clown-master of martial-arts mayhem, this extravagantly nutty crime comedy is a work of some kind of genius. Not everybody's kind of genius, to be sure.

With its porno plot, Undressed production values and ersatz "Will & Grace" banter that manages to be crude without being the least bit funny, Q. Allan Brocka's debut is a tasteless comedy that nevertheless leaves a nasty flavor on the tongue.

Like most anthology films, this thematically linked trio of shorts is a mixed bag.

Sternfeld's script, developed at the Sundance screenwriters' lab, is spare to the point of stinginess; individual scenes play beautifully without adding up to anything, stranding the actors in an emotional vacuum that drains the life from their performances.

With scenes that must surely rank among the most revolting ever committed to film.

Attal's characters are one-note position statements, which forces the unsubtle soundtrack - mostly American pop songs that range from the Velvet Underground's "Sunday Morning" to Radiohead's "Creep" - to bear the brunt of clarifying their thoughts and feelings. Without it, you'd be entirely in the dark.

If his ambitious first feature isn't entirely successful, it nevertheless poses genuinely provocative questions and opens a window into the way the 9/11 disaster looks from outside the U.S.

Filled with some of the most powerful poetry and shattering images ever to come out of warfare.

An offbeat and sometimes jumbled western adventure film. (Review of Original Release)