Intense, well-acted love story.

Should satisfy its 8- to 12-year-old target demographic.

For his directorial debut, British actor Charles Dance tackles such familiar English themes as repressed desire and an arm's-length fascination with foreigners. Luckily for the slight story, he has recruited two of the most effortlessly brilliant grande dames of British film.

Despite the mysteries of the plot, a sitcom-style sense of expectation creeps into Saving Face, which sometimes feels comfortable but mostly serves to spotlight the shortcomings in a script that invents compelling characters but doesn't give them much out of the ordinary to do.

It's not without one or two missteps, but remains likely the most impressive juvenile acting you'll see this year.

With solid performances, competent direction and artfully drab cinematography, the film would be indistinguishable from a Hollywood thriller if not for the Flemish dialogue. It's no surprise to learn that an American remake is in the works.

For gourmands who appreciate this sort of cinematic comfort food, though, The White Countess is a fitting finale for the producer.

With a predictable and borderline manipulative plot, Tsotsi depends on strong performances for its impact, and its cast delivers.

Three potent performances readily compensate for the familiar plot.

A sometimes very funny movie made by very funny people.

Mostly it's about taxes -- namely, the argument that the Federal Income Tax, enacted in 1913, is unconstitutional and has been ruled as such by the Supreme Court, and that no law exists today requiring Americans to pay it.

Sweet Land brushes against the true spirit of American independent cinema.

Is it a worthwhile movie? Yes, for the most part.

While these interviews are affecting, and the movie talks about suicide in a refreshingly straightforward manner, it's the images of these actual deaths that induce horrified gasps.

Generally, thanks to solid performances and very nice cinematography, it hits, if not a home run, at least a solid double (or the British equivalent).

What makes Freedom Writers work is the very thing that makes it seem like a drag: predictable inspiration.

The question that lies at the heart of the documentary Aristide and the Endless Revolution is whether his exile was his own idea or whether he was pressured, even kidnapped, by the United States.

In 1960, British director Michael Powell made "Peeping Tom," the definitive exploration of voyeurism in the movies. The shocking thriller also practically ruined the career of the veteran filmmaker. Although the stalker-centric Alone With Her doesn't quite rank with Powell's masterpiece, it shows enough promise that one hopes writer/director Eric Nicholas doesn't share his fate.

At its core, the story is a Mars vs. Venus case study.

Being a fairly faithful adaptation, this version also has a lot of that other stuff about the hypocrisy of civilized life, the truthfulness of natural splendor and so forth.

LaBeouf is likable and grounded, two things you need from the lead in a film like this, although his female co-stars seem to have been cast based on how well their Maxim covers would sell.

While the subject matter is certainly American enough, it seems possible the original had a bit more depth.

Sometimes it's fun to put on costumes and wigs and just goof around.

The bickering lovers are generally likable, as are her quintessentially and hilariously Gallic parents (played by Delpy's real mom and dad).

The domestic and romantic turmoil all gets resolved a bit too neatly to seem realistic, but realism isn't the goal; this is comfort food, plain and simple, and achieves its modest goals in nearly effortless fashion.

The overall effect of the movie is to make you wish there were a statute of limitations on how long maladjusted adults are allowed to blame their parents before it's OK to holler, "Get over it, people!"

Though it's well-cast and convincingly captures the look and feel of its era, the film loses steam as Accio's story meanders to a predictable conclusion.

Just because others bear blame for what went on doesn't mean they bore none, and while the deal they got was raw, they never lacked the ability to say no.