The first feature-length film of music-video veteran Mary Lambert, but only by grace of her earlier dismissal -- for "artistic differences," one supposes -- from Prince's Under the Cherry Moon. If nothing else, this movie will stand as a monument to Prince's artistic good sense. There is surely very little …

Psychological thriller, with emphasis on the adjective. You get a great many extreme closeups, as though the camera wanted to bore into the brain through the eyeballs or crawl there through the nostrils (and Jodie Foster and Anthony Hopkins give you plenty of surface activity, too), and you get a …

A transplant of The Return of Martin Guerre into the post-Civil War South: an imposter, after six years away at war, i.e. two years longer than the war in its entirety, takes over the position of the local lout and landowner (a full-grown adult before his departure) and in his …

A light skim over deep emotional waters: athletic nostalgia, suicide, first love, first sex, the death of a parent ("Your father's been in an accident." "He's dead, isn't he?" -- and right into Jesu, Joy of Man's Desiring), all slapped together into a series of flashbacks within a flashback. Time, …

The moviemakers, director Martin Scorsese and scriptwriter Paul Schrader, have started with an old-style Warner Brothers working-man premise and tried to cram their learning into it: existentialist philosophy from Sartre and Camus, homages to Bresson's Pickpocket and Diary of a Country Priest, lyrical sketches of New York After Dark styled …

Jean-Pierre Jeunet's visualization of a novel by Sebastien Japrisot, a name firmly entrenched in the mystery and suspense genres: The Sleeping-Car Murders, The Lady in the Car with Glasses and a Gun, One Deadly Summer, others. This one is plainly in the grips of a greater ambition, a WWI-period romance …