While it's a little shapeless and dramatically overwrought, the film remains entertaining thanks to its fascinating subject, sharp visuals and fiercely proud central performance.

Refreshingly devoid of flashiness or artificially pumped-up action, this consistently gripping, well-constructed police thriller… showcases a tightly controlled performance from Kurt Russell.

Delightful coming-of-age comedy-drama.

A tortured reflection on the complex relationship between love, sex, desire and obsession, distinguished by courageously raw performances from leads Mark Rylance and Kerry Fox.

Accomplished, emotionally involving film.

The script here just doesn't have sufficient smarts to pull off Elle's political triumph. But Witherspoon again makes a valiant show of selling it.

Crialese's first feature in his native Italy is a small but distinctive drama that displays a firm command of his cast, an arresting visual sense and an admirable avoidance of facile sentiment or cliche.

An enjoyable throwback to the occult psychological horror-thrillers of the late 1970s. While it flirts often with campy excess, the film remains compelling thanks to its chilly mood, stylish visuals and polished production values.

The two appealingly played central characters and the film's enjoyable evocation of the 1970s and '80s keep it buoyant and diverting.

While Muccino has refined his technique over four features and has developed greater insight, his characteristic tendency toward hysteria remains. This keeps the drama fast and compelling, but also makes it slightly wearing at times.

The resourceful actor (Depp) invigorates Secret Window with a playful personality and wryly humorous aplomb not front-and-center in the script, making the psycho-suspenser more compelling than it might otherwise have been.

This feels like short film material stretched exasperatingly thin but nonetheless casts a certain sad spell, graced by moments of droll observational humor.

Gritty and compelling as Monster is, the script's not entirely satisfying elaboration of the central relationship and Ricci's somewhat ungiving performance limit the material to that of a superior telemovie rather than something emotionally richer, like "Boys Don't Cry."

Ochsenknecht and Wohler are a strong double act, displaying exemplary comic timing and making the brothers a problem-plagued but likable pair.

An engrossingly detailed if perhaps inevitably enigmatic portrait of the elusive, outrageous provocateur.

A thoroughly entertaining comedy about love, lawyers and fat divorce settlements. While a slight imbalance in the romantic formula stops it just short of truly soaring, the crackling dialogue and buoyant wordplay make this a delightful throwback to classic screwball comedies.

The spirited comedy ultimately kneels before an all-embracing deity, which could appease the God squad provided they get through all the wickedly funny zealot-bashing that comes first.

While another director might have imbued the story of a Sicilian boy awakened to his parents' involvement in child abduction with more emotional weight and thematic depth, Salvatores' classically illustrative treatment should open arthouse doors for the visually sumptuous production.

Unclassifiable cult figure Takashi Miike's films invariably have their share of weirdness and perversity, but Gozu arguably outweirds all previous efforts in the prolific Japanese director's eclectic canon.

As lowbrow comedies go, it pretty much delivers.

This exceedingly long-winded but classy drama could appeal to the same strain of infrequent, regional moviegoers looking for righteous entertainment that flocked to "The Passion of the Christ."

The film's chief shortcoming is perhaps its failure to convey a stronger, more atmospheric sense of the repressive 1970s Catholic school environment that breeds the titular boys' rebellion and wild flights of fancy.

Provides deeply humanistic insight into the complexities of the Middle East conflict that political analysis or front-line news coverage often lacks.

Almost as much an art piece as a film, this playful Prohibition-era tale is visually inventive and initially amusing but, at feature length, becomes somewhat wearing in its cacophonous eccentricity.

Full of surreal occurrences and bizarre, sometimes overly precious humor that may make it too rarefied an exercise for wide acceptance.

The film appears consistently poised to go deeper but instead hangs back, making it less substantial than it might have been. Yet the sweet-natured story's gentle humor and poignancy should draw appreciative audiences.

Evokes the mythic feel of Sergio Leone Westerns. Despite a convoluted plot that begs for cleaner lines, the wild shoot-outs, cartoonish violence and charismatic cast should lure action fans to theaters.

Despite an excessively meandering final act, the drama's three intertwined stories have a cumulative impact, their affecting sadness matched by meticulously composed visual poetry.