It's as hard not to ask what former New York Doll David Johansen is doing in their company, prancing his way through an irrelevant version of Howlin' Wolf's "Killing Floor," as it is not to wonder why the audience is so overwhelmingly white.

Anderson is a master of detail, from the film's ubiquitous fish motif to the elaborate carnival set piece that unfolds inside the claustrophobic confines of a spook-house ride called "Route 666."

Surprisingly humor-free. Worse, with the exception of Cornwell's brilliant Bowie, the impersonations aren't particularly good, and can be found in any two-bit comedian's repertoire.

This southern-fried mess of poetic crime-movie cliches is redeemed by standout performances.

Van Bebber is out to capture the mood of a generation-long bad trip and succeeds with unnerving accuracy by telling the story within the family circle.

As provocative as Michael Moore's "Fahrenheit 9/11," but nowhere near as engaging.

A powerful piece of documentary filmmaking.

Shot on location in Manhattan, the film is steeped in understated New York City ambiance and discreetly tinted by Jeffrey M. Taylor's subtle score.

Breillat also offers sharp insights into the love-hate relationship between directors and actors.

The result is undeniably offensive and occasionally very funny, but the gags fall flat as often as they hit their mark.

Only Lopez, the film's ostensible star, seems to be struggling; she's a lovely dancer, but the only reason Lopez's expressionless performance isn't this sweet picture's downfall is that the script makes so few demands on her.

A tour de force and an utter delight, studded with priceless supporting bits by Miriam Margolyes, Maury Chaykin, Rosemary Harris and Rita Tushingham, each of whom steals at least one richly deserved moment in the spotlight.

The occasional amusing one-liner can't compensate for the broad caricatures and awkwardly structured story.

All the conditioner in the world couldn't make it shine.

Grace fares better than Linney, and both escape with more dignity than Harden, whose blowsy, wanton Missy is a coarse, soap-opera caricature of a suburban hoyden.

A marvelously entertaining, deeply moving treatment of a highly controversial practice: female genital mutilation.

The "Bullet" is an amusement-park roller coaster, and the title is a ham-fisted metaphor for facing your fears.

That the film seems willing to erect a simple religious parable on such a moral morass is bewildering. That it should do so without accurately depicting the nightmare of Hitler's Europe is unconscionable.

Were the film's tone not so hysterical it might be provocative; as it is, insights and insults are inextricably intertwined.

Naim's potential is evident, but his debut is a frustrating exercise in missed opportunities.

The result is a beguiling mix of the familiar and the exotic, vivid proof that a good story can withstand endless variations without losing its fundamental vitality.

Staunton is phenomenal - she barely speaks throughout the entire last third of the film, but the power of her posture and distraught expressions are enough to break your heart.

Stands out by virtue of its impressive visual style and the filmmakers' decision not to massage the facts into cliched conflicts with neat, feel-good resolutions that produce the proper sense of uplift.

The poorly executed scenes in which Duff's singing voice was clearly post-dubbed and her own lack of emotional range keep the film from rising to whatever potential it may have had.

In the end, the film is both a fitting elegy for Arna and the children she tried to help and a deeply disturbing warning about what will continue to breed within the occupied territories until peace is brought to Palestine.

An awkward amalgam of road movie, buddy comedy and melodramatic conventions, first-time writer-director Jordan Roberts' male weepie ricochets between affecting scenes and insufferably maudlin ones.

A fascinatingly obtuse puzzle box that manages to be gripping even after it stops making sense.

The film is an intriguing and hugely theatrical experience whose effectiveness is greatly enhanced by gorgeous period costumes and set design.