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Some movies are simply made for women, and heterosexual men have no hope of appreciating them, I suppose. Do you like shoes? False sentimentality? Something that mistakes generalizations for insight? Then In Her Shoes is the film for you. Curtis Ha...

In Secret, an adaptation of Emile Zola’s Therese Raquin, is an effective period piece thriller that incorporates love, lust, desperation, and madness into a stew thickened by a gothic atmosphere. The film’s shortcomings - the most notable of wh...

In the Bedroom is arguably one of the year's most anticipated independent releases - a movie whose incessant buzz at Sundance carried it at the crest of a wave to Toronto, then placed it in theaters before the end of the year. For those unable to ...

In the Company of Men is one of those rarest of rare breeds -- a movie that doesn't just ignore Hollywood conventions, but openly flouts them. The film, which premiered to great critical acclaim at 1997's Sundance Film Festival, initially had trou...

Although the events depicted in Fatih Akin’s In the Fade are fictional, their implications and consequences are grounded in reality. Terrorist events are becoming sadly commonplace and, although news reports focus on the immediate action, ra...

In the Heat of the Night was the first film – and not the last – to capture the Academy’s attention with its clear-eyed but hopeful examination of race relations in the South during the 1960s. Based on John Ball’s 1965 novel of the sam...

In the Land of Women is enjoyable for a movie in which pretty much nothing happens. The things that occur during the course of Jonathan (son of Lawrence) Kasdan's debut feature are all subtle and character-based. This is the sort of motion pictur...

Moody. Mournful. Slow. Languorous. Long takes. Deep colors and deeper shadows. Images that linger. All of these thoughts, observations, and impressions come to mind while watching Wong Kar-Wai’s 2000 feature, In the Mood for Love. The film w...

Sometimes it's only through the greatest of tragedies and the gravest of injustices that human beings learn to relate to each other honestly and openly. Nowhere is this more apparent than in Jim Sheridan's searing In the Name of the Father, where ...

The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema. This image is so blatant and cheesy that it makes one wonder whether director Paul Haggis’ succes...