Whether or not Bobby Kennedy was the man his supporters believed him to be, the film makes a persuasive case that something important in America was silenced when he was gunned down.

All the action is staged with energy, but it gets relentless without anything really funny going on.

Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up Paris je t'aime, the art is love.

Shot in high definition and filmed at many historic locations, the film somehow still lacks the splendor of an epic, and its urgency to get on with the next plot point leaves much unexplained while context goes out the window.

The film belongs to the women, with Knightley going from strength to strength (and showing she can sing!) and Miller again proving that she has everything it takes to be a major movie star.

The most affecting scenes, however, involve the class of Israeli teenagers visiting Auschwitz.

Cantet keeps a lid on a story that he could have easily exploited, but he makes his points about beauty, fulfillment, self-indulgence and delusion with a measured hand.

Brainlessly entertaining action picture.

A penchant for suffocating close-ups and an overabundance of scenes that go on far too long mar Abdellatif Kechiche's The Secret of the Grain, an otherwise engaging drama about an immigrant Arab family in France.

The observational detail is impressive and the two men's growing affection is well-drawn but Takerman's depiction of the conventions and strictures of religion and the impulses of two closeted gay men are too understated to achieve universality.

The film's action takes place mainly in one room, with the five characters posturing like angry macho men but slowly revealing their arrested development and juvenile ignorance of life in general and women in particular.

With its intelligence at the level of the simple-minded, however, the film is not likely to attract moviegoers who seek something more than a screen filled with kaleidoscopes of colored metal. Fan boys will no doubt love it, but for the uninitiated it's loud, tedious and, at 147 minutes, way too long.

Turns Jane Austen's nimble satire into a lumbering gothic romance.

Trite, grim and feebly provocative.

Tedious humor and sentimentality bury what could have been a pretty good road picture.

The film clearly wishes to explore the topic of children having children, but it only inspires a great desire to smack them both.

Atmospheric but pedestrian, it is a retelling of the classic tragedy of all civil wars, from the U.S. to Vietnam to England, where brother is pitched against brother.

A repellent movie filled with gratuitous violence, Election is bound to find an appreciative audience among those who like their cinematic criminals noisy, stupid and deadly.

Ang Lee's lugubrious spy epic Lust, Caution brings to mind what soldiers say about war: that it's long periods of boredom relieved by moments of extremely heightened excitement.

Blandly interesting.

Politicians, the media, educators, military commanders and a docile public all come under fire in a well-made movie that offers no answers but raises many important questions.

Cruz's performance deserves to be seen widely, and it should place her again in line for prizes, but the story's pretensions and downbeat mood will not endear the film to audiences.

Much of what is shown onscreen is atmospheric filler, while the various characters describe being made outcasts because of their sexuality while holding on to their commitment to their faith.

What it lacks is a villain, and magic without danger is simply a parlor trick, which is what the film becomes.

Surveillance will please the B-movie crowd in theaters and on into the ancillaries

Remaking eccentric English comedies is seldom a good idea, especially the ones from Ealing Studios with all those wonderful character actors. But against all odds, the new version of St. Trinian's almost pulls it off.

A performance film, but sadly the majority of the performers are not the acts that have played at the long-running pop festival over 35 years, but the exhibitionists who make up the crowd.

The script by first-time director Li Yu and producer Fang Li introduces some degree of subtlety in the responses of the four principals, but the plot doesn't really hold up.