It never fails to come as a shock to find how profoundly moving it all is when these gentle films draw to their graceful conclusions.

The competition between man and machine is fogged by distrust and obfuscation. And for now, the result is a draw.

While probably not suitable for the wee ones, older kids and most adults will love this exciting and heartfelt adventure of one boy's survival during the darkest days of post-war Europe.

The result isn't exactly funny, just profoundly peculiar and even occasionally, unexpectedly poignant.

Highlights how far we've fallen.

If watching devout churchgoers pray to Jesus before a static camera sounds like the dullest idea ever for a documentary, think again: This might be the most fun you've ever had in church.

Set mostly over the course of a single evening, the film is lugubriously paced and filled with improbable turns of events.

The film is a trifle long too long for its rather slim mystery, but in face of so much beauty and invention that's a small quibble.

Weinstock's trump is Moreau, a natural-born charmer.

The film is beautifully told and superbly acted. More importantly, Paul Laverty's screenplay goes along way toward showing how the traditionalism that can turn a community inward on itself is often a response to racism, and in that sense the film's timing couldn't have been any better.

Though Hearst is the hook, Stone's unwavering focus is on the heady mix of social and personal dynamics that spawned the SLA.

The effect is hypnotically disorienting, but the less familiar you are with this period in 20th-century Chinese history, the easier it is to get hopelessly lost in the tangle of personal and political loyalties and betrayals.

Melodramatic.

There are two stunning battle sequences, and that rose-tinted bloodbath is a stroke of the eccentric genius for which Stone is famous.

Curtis' considerable and diverse talents don't go entirely unused.

Alternately accessible and obscure, the film is almost too rich to digest at one sitting, but even if experiencing this remarkable films means latching onto just a few of its myriad ideas, it's still a richly rewarding encounter.

Rough around the edges but rock-solid in its sense of place and its depiction of real people overreaching their apparent limitations.

The film's secret weapon is its kicky soundtrack.

It's a silly, stupendously artificial enterprise.

By turns enthralling, seductive and deeply disturbing.

A sleek and sublimely deadpan comedy of Japanese corporate manners.

Seriously sexy stuff from -- surprise -- the former-Soviet Union.

After years of work-for-hire, writer-director Wong Kar-wai found his creative voice, discovered his themes and styles, and solidified his collaborative creative team with this brilliant examination of one-way love and crashed relationships. (Review of Original Release)

This simplistic animated feature falls firmly within the long tradition of bland, upbeat and earnest religious instructional films.

A caper comedy without chemistry is just a bunch of waiting around for something to get stolen.

In the end it's simply another Chucky movie -- whether that's a recommendation or a warning is entirely up to you.

The film rests on Depp's evocation of Barrie's gentle, playfulness and deeply buried sorrows; it's difficult to imagine another actor so gracefully evoking Barrie's childlike qualities without seeming creepy or emotionally malformed, and only the hard of heart will come away dry-eyed.

Labored and dispiriting.