Peter Brunette

We've seen the clash of cultures and generations before,--- but never quite so humorously. This time, the focus is on the Pakistanis living in England, and it's quite amazingly done, perky and inventive to the core.

It's solid, if ultimately uninspired, July entertainment.

It's far more loquacious and cerebral than your average run-of-the-mill thriller, but boy, when the relatively infrequent scares do come, they will pull you out of your seat and raise the hair on your arms.

Despite the first-rate acting, the narrative is the star of this show, so much so that you feel yourself occasionally losing interest in the travails of the characters. Instead, you hang on every word and every tiny object, every cut and bruise in the frame, looking for clues that will help you make sense of what's going on.

Tender souls who don't like a lot of noise and violence should probably stay away from this very in-your-face film.

It's a great ride, gorgeous, silly and deeply intellectual by turns, but, for all its inventive fireworks, sad to say, it finally doesn't quite work.

What's best about the film is not the hot romance, but the coldness that lies at its heart.

Don't be misled by claims that you've seen this one already. You haven't, and you should.

Has a charm that keeps you involved throughout.

Love it or hate it -- and I suspect, frankly, most people are going to hate it -- this is like no other film you've ever seen.

The first half of The Third Miracle is very good...but the second half of the film, alas, turns into deep TV-mode.

Its evocation of the politics and Zeitgeist of the late '60s is so right on, as we used to say, that it left me stunned.

The dialogue is sparkingly witty, and Phoenix and Winslet are excellent in what are, after all, meant to be fairly one-dimensional roles.

The landscapes are so gorgeous, the philosophy so richly appealing, the narrative so epically sweeping, and the characters so intense.

It simultaneously wows you with the stark beauty of its images, a beauty that leads to another, related kind of truth that is equally crucial. It's not to be missed.

One of the best pictures I've seen all year. Funny, touching, even inspiring at times.

Much more mythic and risk-taking than the usual Hollywood product.

Egoyan's films have always been about the intricacies and basic strangeness of human relationships, rather than about plot or snappy one-liners, but a new moral urgency seems to invigorate this film.

Authentic contemporary heroine.

Far from perfect, and at 122 minutes it's way too long, but after surviving an overly schematic and even hectoring first half, finally delivers the emotional goods.

What makes the film so special is that while tickling your postmodern funnybone, it never forgets to make you care for its characters, in a welcome, and almost traditional way.

While the film's mood is dreamy, dark, and gentle, it's also very slow and seldom leads to much of a intellectual or emotional payoff.

One Day in September does "being there" very well -- I just wish director Macdonald had spent a little more time explaining why we should want to be there in the first place.

It's all overblown: too much music, too much cutting, too much zooming, too much computerized special effects, too much clanky symbolism that never works.

A dud. Neither sweet nor low-down enough by half.

Irrespective of whether Pollock, as a movie, is any good -- and it is very, very good -- it's clear that Ed Harris was born to play the lead role.

The filmmaker has given us two films for the price of one. Unfortunately, the second film, a gripping thriller which occupies the last 45 minutes of Space Cowboys, is much better and more involving than the first film.

An occasionally powerful, always heartfelt drama.