It goes beyond sympathy and authenticity to insight as it examines the plight of a man who loves a man but feels he must love a woman.

To my taste, the only serious drawback to this absorbing film is Harris's unimaginative adherence to documentary convention, which obliges him to "illustrate" the voice-overs even when the material matches the narratives only in fictional terms.

Despite its mawkish tendencies, the film is remarkable for the naturalistic acting of its cast, particularly the simple, tenderly expressive performances of the two leads.

Dark fantasy triumphs in this gorgeously animated surrealist adventure.

An entertaining and atmospheric revenge tale.

Scary and exciting.

Compelling collection of three loosely connected vignettes.

The film is unsparingly gritty, but with a woman's tenderness it also grants the characters an occasional moment of grace.

Has its faults, but it's Barbet Schroeder's most relevant and interesting film in over a decade.

The first half of the film, in which Maglietta gradually discovers herself as something other than a servant, is genuinely engaging.

Hassan Yektapanah's first film attests to the deceptive simplicity of Iranian cinema, transforming the most minimal of props, scenes, and stories into a complex journey of discovery.

This is the first feature I've seen by writer-director Dominique Deruddere, and I hope it won't be the last.

An experimental feature that keeps shooting off its ideas like an endless row of skyrockets, Kikujiro ultimately conveys this grief with such sustained intensity that it can only leave a scorched path of devastation in its aftermath.

Writers Liu Fen Dou and Cai Xiang Jun and director Zhang Yang move freely and gracefully between fantasy and reality in this sentimental film, which never becomes as trite or calculated as you might fear.

A movie to savor.

Funny? This one is. It's also sweet and thoughtful.

The theories about sexuality and trauma artfully advanced in this previously unreleased 1975 debut of director Catherine Breillat (Romance, Fat Girl) are more nuanced and intuitive than those of most schools of psychology.

In this uproarious and often scathing debut feature, writer-director Frank Novak charts the dissolution of a working-class marriage.

This is why movies were invented.

Karen McCullah Lutz and Kirsten Smith's script has its witty moments, and some of the secondary characters--such as Larry Miller as the father and Daryl "Chill" Mitchell as an irritable teacher--are every bit as quirky as the leads.

Whatever else it may or may not be, Primary Colors is first and last a mainstream Hollywood entertainment. And that means that viewers looking for engagement with political issues are bound to be disappointed.

Leisurely pacing of this kind is likely to register as a form of respect for the viewer's intelligence and observation.

An extraordinarily subtle, witty, and nuanced work.

Mesmerizing dark fable, which also contains moments of comedy and action that don't disrupt its oddly earnest tone

The casting of Michael Douglas against type as an over-the-hill novelist and writing professor is the sort of clever move that wins undeserved Oscars.

A text that provokes thought more than directs it, which should fascinate new and repeat viewers for a long time.

Audaciously combining conviction and childish humor, this SF thriller reminds us that the distinction between the tangible and the intangible may be frighteningly arbitrary--an idea that's made too scary ever to seem trivial, no matter how silly things get.

Despite its farcical moments, Late Marriage leaves an aftertaste as sobering as other recent films that critique cultural conservatives in the Middle East.

This is quick and unpredictable storytelling, its dialogue simple but tough. Alberto Jimenez is excellent as the conscience-stricken father, whose duty to respect the law tests his relationship with his own son, and both kids, Juan Jose Ballesta and Pablo Galan, give passionate, committed performances.

Fontaine and Jacques Fieschi collaborated on the screenplay, and Jocelyn Pook's chilly string score nicely evokes the menace underlying the film's plush settings.

The special effects are beautifully handled and the reflections on death attractively peaceful.

Cunningly scripted and acted, and talky in the best sense, the film is engrossing to watch but not especially interesting to ponder afterward; it's certainly an improvement on formulaic Hollywood, but on a thematic level there's still more windup than delivery.

This wonderful 1997 comedy--about an unlikely group of men who are determined to strip to music rather than get day jobs--is genuinely effective at inverting gender stereotypes and other assumptions, and it's not the slightest bit heavy-handed.

Honigmann assembles a mosaic of the postcolonial diaspora that populates the crowded ethnic enclaves of Paris, and the emotional, lovingly captured songs seem to turn the City of Light into a bazaar of world music.

Surprisingly, this didactic and self-consciously clever romantic comedy isn't annoying -- it's refreshing, moving, and at times quite funny.

I was hooked from the start.

Miraculously, De Niro and Grodin turn this sow's ear into a plausible vehicle for a buddy movie, and thanks to both of them, this movie springs to life.

As storytelling it isn'’t always as clean as it might be, but this 1998 first feature by writer-director Lisa Cholodenko is an interesting debut for its nuanced sense of character and its terrific sex scenes--scenes that actually serve character development for a change.

A small, solid film, made with craft if not resonance.

Many of the elements in this story about a woman who's nearly eclipsed by her overbearing mother are all too familiar, yet the combination is utterly charming.

Neither PC nor crudely anti-PC, this tough and tender movie, like its characters, is prepared to take emotional risks, and the comic book milieu is deftly sketched in.

There aren't many movies that deal with middle-aged women, and this one manages to do so with a fair amount of wit and heart.

The movie is truly an open text--its generous poetry inspires free association rather than predictable emotion.

Kitschy, clever expressionist sets, subtly marvelous 70s costumes, and an almost monolithic rock sound track enhance the meaty performances of actors who clearly appreciate the opportunity to riff on a classic--and promote vegetarianism.

This little picture charms by virtue of its craft and patience.

It's a heady mix of the earnest, the grave, and the frivolous. Wizardly director Kevin Reynolds even manages to condense into a single shot, with a wisp of humor, several of the hero’s long years in a dungeon without making them any less grueling.

This film by Julio Medem has dreamlike visuals, lush sensuality, a gorgeous cast, and a plot built on elaborate, self-conscious coincidences.

This is a powerful and persuasive look at an ethnic community and what makes it tick.

Kidd has a great ear for dialogue, and he throws in a few unexpected twists. But the real fun is watching an established pro and a newcomer run with the script.

There's an undeniable formal elegance in the way Ferrara, who coauthored the script with Zoe Lund, frames and holds certain shots, and Keitel certainly gives his all in this 1992 entry in the Raging Bull redemptive sweepstakes.

The compositions and camera movement are both precise and elegant.

The power and reach of this undertaking are formidable.

A worthy entry in the dystopian cycle of SF movies launched by "Blade Runner" (including "The Terminator" and "Robocop"), this seems less derivative than most of its predecessors yet equally accomplished in its straight-ahead storytelling, with plenty of provocative satiric undertones and scenic details.

One can already tell that this film is on to something special during the opening credits.

Though it's a good half hour too long, this belated, overblown spin-off of the 60s TV show otherwise adds up to a pretty good suspense thriller.

Unlike the classic noirs, this is grounded in neither a recognizable social reality nor a metaphysical sense of doom--just a lot of sexy attitude, humping, and heavy breathing.

The film's warmth and sympathy are underlined by some intelligence.

If you treasure Gilliam at his best and take his ideas seriously, you'll probably be infuriated as well as delighted.

Its brutal take on living under totalitarian rule periodically suggests Orwell's "Nineteen Eighty-Four." Mullan makes the authority figures (such as the nun played by Geraldine McEwan) grimly believable, but as in "Orphans," there are times when he doesn't know when to quit.

Fascinating documentary.

A wry, nonjudgmental look at the blind faith and materialistic ambitions permeating the superstitious Indian subculture, though the tone becomes more caustic as the hypocrisy and corruption of colonial politics strip Ganesh of his moral authority. The cast is uniformly excellent.

The movie overextends a patch of folk mysticism toward the end and then adds a silly whimsical coda, but as a comedy of errors it's often hilarious.

I can't say that this feature by Shari Springer Berman and Robert Pulcini, about the life and art of Harvey Pekar, made me want to run out and buy his comic books, but it does offer a highly interesting and original introduction to them.

An unprecedented friendship between a monster and a child leads to an amazing chase scene.

"Sweetie" and "An Angel at My Table" have taught us to expect startling as well as beautiful things from Jane Campion, and this assured and provocative third feature offers yet another lush parable--albeit a bit more calculated and commercially minded--about the perils and paradoxes of female self-expression.

Though passionate, doesn't pity or flatter the rank and file.

Amiably unvarnished... Much more successful than most other films that deal with daily life in the projects.

Results are classy entertainment with little to interest women viewers but very shrewdly and cleverly put together, and probably more rewarding in long-range terms if you invest in Fox or Dreamworks than if you actually see the movie.

Far and away the funniest comedy in town.

Without becoming manipulative, sensational, or trite, the movie lets us know what became of the animals -- many dogs and one stowaway cat -- on the ill-fated ship.

Melville's seedy characters and engrossing friendships are well preserved, thanks largely to strategic redeployment of his crisp dialogue. As revamped caper films go, this offers considerably more texture than Steven Soderbergh's "Ocean's 11."

Since the virtues of heroism and decency it celebrates are universal, I hope it doesn't get absorbed into the dubious agitprop of American exceptionalism.

Chris Smith, codirector of the indie sleeper "American Movie," dreamed up this funny one-hour documentary, about five freaky homes and the people who live in them.

Managed to pull the rug out from under me about three-quarters of the way through, and I still hadn't found my feet when the credits rolled.

Tom Hollander gives a strong performance as the considerate and quietly grieving young man.

The movie can't live up to Robert Rossen's 1961 classic, "The Hustler" but with its strong performances, neatly crafted script, and low-budget feel, it comes a lot closer than "The Color of Money."

The problem with these feats is that they threaten to overwhelm the film's content, both as complex historical commentary and as aesthetic and theoretical gesture.

An exhilarating and terrifying journey through youth-culture hell.

Jean Gabin wasn't yet 50 when he starred as a big-time, high-style gangster hoping to retire, but he still looks pretty wasted, and this pungent tale about aging and friendship, adapted from a best-selling noir thriller by Albert Simonin, would be hard to imagine without his puffy features.

Their gross-out humor is basically sweet tempered, for all its tweaking of PC attitudes, and though this film looks slapdash, its script (by the Farrellys, Ed Decter, and John J. Strauss) is surprisingly well put together.

On paper this may sound like soap opera, but Bier and screenwriter Anders Thomas Jensen (Mifune) have a good feel for character, and they're aided by a fine cast.

The equation of Gilliam with Quixote is so obvious to everyone involved that Fulton and Pepe can hardly be blamed for adopting it.

Jackson's portrait of impotent rage is tremendous, and Affleck, who drops his usual smugness, is surprisingly good.

You're scared witless much of the time, even if you conclude afterward that this 1973 movie was really pretty amateurish and simpleminded.

Bosnian-born director Emir Kusturica delivers a superb performance as the prisoner, a brutish cipher who gradually reveals his humanity, and the delicate lighting often produces silhouetted faces that evoke the ultimate incomprehensibility of human emotion.

Robert Louis Stevenson's Treasure Island becomes a rousing SF adventure in this animated Disney feature.

The conduct of the French intelligentsia under Nazi occupation remains a tender topic, and the 2002 release of Bertrand Tavernier's film about two filmmakers who follow divergent paths through the Vichy years stirred intense controversy.

Robert Redford's best and richest directorial effort.

If you decide at the outset that this needn't have any recognizable relationship to the world we live in, you might even find it an unadulterated delight.

Unfortunately, a conclusion stuffed with so many improbabilities that it left me gaping in disbelief. Prior to that, this is pretty much fun.

Actor David Morse establishes himself as a truly formidable presence in this powerful first feature by Alex and Andrew Smith.

The simple premise of one scene of table-turning voyeurism is brilliant.

By turns morally compelling and racially paternalistic, this provocative drama may be the first halfway truthful war movie to hit multiplexes since "Three Kings."

A powerful piece of social protest, skillfully written, directed, and acted...Hilary Swank as Brandon and Chloe Sevigny as his girlfriend Lana are especially fine.

Screenwriter Kate Boutilier provides plenty of sharp patter, and Paul Simon contributed the catchy song "Father and Daughter."

In general, the dogs-as-mirrors theme--the crazy things people do with and in relation to their pets--is what keeps this going, and the laughs are sporadic but genuine.

A camp musical-comedy hoot. It comes on like an outrageous episode of "The Simpsons" or "South Park."

Wicked little black comedy.

Borrowing heavily from "Close Encounters of the Third Kind," Shyamalan tries to lighten his trademark gloomy tone -- and almost kills the suspense he's working so hard to achieve.

Director Rob Cohen supplies plenty of gore, attitude, loud music, and extreme-sports action -- in particular, a thrilling aerial drop that's followed by a crushing avalanche.

This may have its occasional dull stretches, but in contrast to "Saving Private Ryan" it's the work of a grown-up with something to say about the meaning and consequences of war.

This has much of the warmth and feeling for adolescence that Crowe displayed in his first feature ("Say Anything"), though the slick showboating of "Jerry Maguire" isn't entirely absent either.

Subtly profound love story.

Columbus beautifully realizes many of Rowling's fantastic conceits -- but for the last hour I was searching for a spell to make the credits appear.

Superlative documentary by Christian Charles delves into the world of stand-up with a seriousness and attention to detail matched only by Phil Berger's book "The Last Laugh."

There's something almost wearying as well as exhilarating about the perpetual brilliance of Bosnian-born filmmaker Emir Kusturica.

Often coming across as simultaneously out of control and self-possessed, Borchardt can't have been an easy target, but the filmmakers seem to have nailed him.

The slick satire cleverly equates materialism, narcissism, misogyny, and classism with homicide, but you may laugh so loud at the protagonist that you won't be able to hear yourself laughing with him.

The most underestimated commercial movie of 1987 may not be quite as good as Elaine May's three previous features, but it's still a very funny work by one of this country's greatest comic talents.

Especially interesting are the complex relations among the residents of the ghetto.

It's a jaunty adaptation, almost screwball.

Viewers hoping for new revelations will have to be content with learning that Hitler suffered from severe stomach problems. Yet there's much more here than a trickle of unsatisfying tidbits.

It's presented in such a nicely understated manner, and Ambrose turns in such a good lead performance, that it rises several notches above most of today's teen movies.

A gripping and carefully calibrated suspense story.

Mott Hupfel II's noirish photography, Pete Beaudreau's smooth editing, and McAbee's wry script are all wonderful, and Dawn Weisberg's costumes are especially killing.

A hokey but highly entertaining tale of corporate greed that should be especially satisfying if you're pissed off at big business.

None of the characters emerges as very sympathetic.

Best of all, and unusual for a screenwriter, Anderson handles the science consistently (maybe even scientifically).

Notwithstanding its occasional grotesque nods to postmodernist convention, this is highly entertaining Hollywood filmmaking, full of spark and vigor.

This send-up of 70s blaxploitation flicks mixes parody and social commentary to make larger points about the current state of American culture and race relations. The audience I saw the film with was almost choking with laughter.

What mainly registers is the quiet desperation and simple pleasures of ordinary midwestern lives, the fatuous ways that people cover up their emotional and intellectual gaps, and the alternating pointlessness and cuteness of human existence. This may be a masterpiece of sorts, but it left me feeling rotten.

The wonderful Richard Farnsworth plays the lead, and he was clearly born for the part...a highly affecting and suggestive spiritual odyssey.

The plot of the picture is familiar, but it's realized with such delicacy and affection for the characters that it seems as fresh and warm as its verdant setting.

For me it felt like a good many weeks at a politically correct summer camp, though the talented actors--including Cecilia Roth, Eloy Azorin, Marisa Paredes, Toni Canto, Antonia San Juan, and Penelope Cruz--certainly seem to enjoy the taste of the characters they're playing.

Gutsy romance-drama that breaks a cardinal rule of storytelling and pop psychology: its iconic lovers aren't forced by a tragedy to learn that they shouldn't depend on each other to feel whole.

A provocative and stirring climax to the Corleone saga, as well as an autonomous work that sometimes shows Coppola at his near best.

I was wooed by its sexy romanticism all the way through to the mysterious and beautiful coda.

In a perfect marriage of player and part, Reese Witherspoon is Elle Woods.

Exciting mainly because anything can happen and does, the movie drags a bit as it approaches a climax set atop the Statue of Liberty.

Scenes of ingenious slapstick violence.

Allen's movies specialize in contemplating the notion that money can somehow remove vulgarity or produce gentility. Small Time Crooks may conclude quite conventionally that money can't buy you everything, but most of it flirts even more conventionally with the opposite premise.

Illuminating with their energy and wit.

The tone -- a combination of earnestness and gallows humor -- is strangely appropriate.

An adroit piece of storytelling from Irish writer-director Neil Jordan that's ultimately less challenging to conventional notions about race and sexuality than it may at first seem... The three leads are first-rate.

Erkel's folk-flavored music sounds a lot like middle-period Verdi, but many of the melodies are ravishing.

Based on the real-life exploits of Frank W. Abagnale but played more for myth than believability.

This is a remarkably gripping, suggestive, and inventive piece of storytelling that, like Kubrick's other work, is likely to grow in mystery and intensity over time.

It's good old-fashioned rural gothic that would make Flannery O'Connor proud, with tricky switcheroos that keep shaking up our assumptions about what's going on.

This is smooth and at times even sensual -- a well-oiled machine.

Kwietniowski follows up his impressive debut feature, "Love and Death on Long Island," with this equally absorbing study of a compulsive personality.

The film seems a bit studied, but the creepy plot still holds a certain fascination.

Fascinating group portrait of soul and R & B legends who are still touring 40 years after their original fame, enduring even after they've been relegated to the nostalgia circuit.

As a director Carnahan definitely has the goods: the opening foot chase, a sequence that's been done to death, is genuinely terrifying.

Director Peter Kosminsky elicits such genuine performances from his talented cast that the film rarely strikes a false note.

Very competently mounted and acted (there are also juicy parts for Judy Davis, Tony Shalhoub, and Jon Polito), this is basically a midnight-movie gross-out in Sunday-afternoon art-house clothing--an intriguing novelty that revels in effect while oozing with cryptic signifiers.

If it speaks with a quieter voice than many of Bogdanovich's early pictures, what it has to say seems substantially more personal and thoughtful.

Key action points are edited with finesse, but the denouement, with its dutiful hail of gunfire, is heartless and mechanical.

A wily and dogged inquisitor, Broomfield cajoles and confronts a variety of witnesses, charting a web of intrigue that also involved the LAPD, the FBI, and assorted gangbangers and rogue cops.

A must-see.

It's good to see a gay relationship treated no differently than a heterosexual one would be.

The dazzling star power of the French screen royalty Ozon has assembled and the film's sheer exuberance in its own artifice make this a delight from beginning to end.

Often seems more old-fashioned than modern.

Stylistically, it's a remarkable effort -- with a continuous sense of gliding motion -- and the film is entertaining and gripping throughout.

Exuberant music and precision choreography furnish the thrills in this thoroughly enjoyable saga.

The movie has some of the braggadocio of its white-trash hero, building to its competitive climax as if it were a gladiatorial sporting event, and it carried me all the way.

There's nothing really new...but it has craft, pacing, and an overall sense of proportion, three pretty rare classic virtues nowadays.

The high-powered drive of both the storytelling and the music is riveting.

The first 20 minutes are masterful, as Cruise hunts down a killer-to-be; the last 20 are mediocre, as screenwriters Scott Frank and Jon Cohen untangle the mystery they've grafted onto Dick's story. In between lies a conventional but expertly realized cop-on-the-run drama.

I wondered if the movie would end with a round of knock-knock jokes, but instead there's a hilarious trash-talking session with the four guys sitting around gutting one another like fish.

The full-throttle approach of director Doug Liman (Swingers, Go) is impressive.

Expresses with uncommon power the highly relevant issue of public indifference to genocide, which is especially well dramatized by a scene with Elias Koteas as an actor playing a Turk.

This is a twilight film, full of sorrow yet lyrical, beautiful, and dark.

Elegant flamenco tragedy.

We finally learn much more about Moskowitz than about Mossman, and more about Mossman than about his novel, but Moskowitz's passion for books is irresistible.

The film is full of finely observed details.

Superior summer entertainment.

Where other King stories and hundreds of other movies simplistically exploit the archetype, this tale intricately relates the actions of its young evildoer to the more abstract forces bearing down on the adults.

Silly, sophomoric, and slapped together, but would you want it any other way?

The characters (both animal and human) are solidly conceived, and the storytelling and visuals are expertly fashioned.

Provides glorious escapism without asking you to turn your brain off.

Director Ron Howard's deftness in suggesting the subjective experience of Crowe's character, who's later diagnosed with schizophrenia, makes for inspirational narrative.

Not even the crude ethnic humor--Billy Crystal's Mel Brooks-ish Miracle Max--pricks the dream bubble, and the spirited cast has a field day.

The broad Italian family humor gets so thick at times that you could cut it with a bread knife.

Fortunately, the script by Ronald Bass and Barry Morrow isn't half bad, and both Barry Levinson's direction and the performances are agreeably restrained.

The film's storytelling and heartfelt pantheism are both impressive.

McDormand has never been better, but all the performances are interestingly nuanced, including Natascha McElhone's as one of Bale's fellow psychiatric interns.

The animators have re-created equine movement and behavior with uncanny verisimilitude.

The extravagant makeup and special effects are actually unobtrusive because they're demanded by the pleasantly formulaic story, whose conflicts -- and broad, innocuous political allegory -- justify the heartwarming resolution.

A late radical shift in tone, from jittery exuberance to ruinous alienation, strikes an impressive contemporary note amid all the obeisance to custom.

Starts out silly, gets sillier by the minute, and frequently had me and most of the people around me in stitches.

In short, I never quite believed the story, but this movie is more about feeling than thinking.

Blitz shows us these kids in all their quirkiness and dorkiness, letting them do much of the talking as he records them and their families at home.

For a Disney movie, Holes is mercifully low in saccharine.

Spielberg does an uncommonly good job both of holding our interest over 185 minutes and of showing more of the nuts and bolts of the Holocaust than we usually get from fiction films. Despite some characteristic simplifications, he's generally scrupulous about both his source and the historical record.

Eventually writer-director M. Night Shyamalan neutralizes Willis's star presence with impressive plotting that's a fine excuse for the powerful atmosphere.

Walt Disney Pictures and Pixar Animation Studios join forces on an entertaining computer-generated, hyperrealist animation feature that's also in effect a toy catalog.

It's not a sex movie but a parody, and the loose feel is part of its genius.

This outrageous comic fantasy may not sustain its brilliance throughout all of its 112 minutes, but it keeps cooking for so much of that time that I don't have many complaints.

Yet some of the laughs come too easy and linger too long; for the film's message to have maximum impact, the laughter has to stick in your throat.

I'm not sure what it all means, but, as in Ed Wood, Burton's visual flair and affection for the characters make it fun.

I laughed a lot at the anti-Hollywood humor and generally had a fine time, in spite of the holier-than-thou hypocrisy that makes this movie easily and even intentionally Mamet's most Hollywoodish picture to date.

Fresh and edgy; the images of a wasted London and the details of a paramilitary organization in the countryside are both creepy and persuasive.

The actors are charismatic, particularly Ricardo Darin.

The story is so black-and-white that one feels like hissing the villain (Kenneth Branagh) and cheering the heroines at every stage, but it's so amazing that the simplicity of the telling seems warranted.

Franky G.'s performance as the protective yet combustible older brother is as real as it gets.

Transcendently kitschy, trippingly funny fairy tale, which has a surprising amount of psychological insight and a dance number to die for.

A bit abstract, though gorgeously shot (by John Alonzo) and cleverly plotted (by Robert Towne), Polanski's film suggests that the rules of the game are written in some strange, untranslatable language, and that everyone's an alien and, ultimately, a victim.

The premise provides a fine showcase for the two appealing actresses, who appropriate each other's vocal and physical mannerisms with dead-on accuracy.

Fannish but intelligent chronicle of indie pop band They Might Be Giants.

Stark, mysterious, and often weirdly funny.

If you can accept the flouting of logic and credibility that usually goes with this kind of horror picture, this scary and suspenseful genre exercise, chock-full of false alarms and brutal shocks, really delivers.

It's gripping and provocative, making effective use of Charles Berling and the music of Sonic Youth, though I wish it were a little less indebted to David Cronenberg's "Videodrome."

Juicy, adroit, and likable.

For better and for worse, this is seductive storytelling as well as investigative journalism, and I wasn't always sure which mode I was in.

The kids, all real musicians performing, are wonderful, and so is Black; Joan Cusack is both charming and funny as the principal.

This bracing courtroom thriller is the most entertaining and satisfying John Grisham adaptation I've seen.

Proves again that the best documentaries currently outshine Hollywood features as the most watchable, energizing, and relevant movies around.

Fiercely uncompromising psychodrama infused with a keen intelligence and a sinister primordiality.