Sarah Scott

Fans may be disappointed with the film's lack of a twist and with its crude storytelling. But if you give over to your inner child, Lady in the Water can take you back to a time when bedtime stories w...

Directed by first-time feature helmer Elizabeth Allen, Aquamarine is so technically slapdash and unabashedly fluffy that there's hardly anything for even the forgiving audience of tweener girls to sin...

Firewall is ultimately so generic and predictable that it's rendered utterly forgettable. One outrageous plot turn after another deprives the film of the required crescendo of an engaging thriller.

Though its reputation as "that gay cowboy movie" is mounting, the homosexuality in Brokeback Mountain is in fact not the focal point of the movie-it's merely the obstacle that prevents two star-crosse...

The Weather Man joins the recent, saturated pantheon of coming-of-age movies centered on middle-aged, upper-middle class, angsty white men.

In his new film, BROKEN FLOWERS, Jarmusch and his current muse, Bill Murray, redefine understated, deadpan filmmaking to delightful effect.

Seven years after The Opposite of Sex, writer-director Don Roos returns to similar territory with the cheeky ensemble romp, Happy Endings.

In the tread of THE OTHERS and THE RING 1 & 2, DARK WATER is the latest ghostly horror flick to deal with Mommy Issues. What it's lacking, however, that the others weren't, are the scares.

Miranda July's film, ME AND YOU AND EVERYONE WE KNOW, is a welcome breath of fresh air amid the regurgitated Hollywood fare of late.