This gray portrait of the Dublin underworld, produced in the United Kingdom, is a refreshing-though brutal-change from the usual aren't-they-quaint Hollywood portrayals of the Irish. Joan Allen stars as Sinead, a feisty reporter who is waging a crusade against the Dublin heroin trade. The story and character are based on real-life Irish reporter Veronica Guerin, but the movie is far from an idealized portrait. Allen lets Sinead's occasional cocky manner and foolhardiness show through as clearly as her convictions. While it is at times hampered by the constraints of budget (the soundtrack is particularly noticeable in that regard), When the Sky Falls offers a realistic portrayal of both the viciousness of a crime scene and the frustration of the police. Allen is more than ably backed by a terrific supporting cast of Irish actors. And yes, she does the accent just fine. This movie is not a masterpiece, but it's well worth a look. -Ali Davis.

Hal Hartley's three-part film about desire and commitment has an interesting experimental quality: the first and second stories are essentially the same tale with the same dialogue, but with contrasting orientations. Part 1 is set in New York in 1993, with Bill (William Sage) standing in a phone booth, listening to a lover, Emily (Parker Posey), trying to talk him into making a marriage proposal before she accepts another. After they hang up, Bill is on the line with Margaret (Hannah Sullivan), making the same sort of entreaties Emily had made to him. Reality and fantasy start to merge as three homeless men begin advising Bill in a restroom about his love life, and Margaret's husband gets ready to shoot himself. Part 2 is set in Berlin in 1944, where the preceding story is recycled among a group of homosexual characters. Finally, the trilogy ends in 1995 Tokyo, where we watch a mime troupe distill Hartley's narrative template to its dramatic essence. The overall effect of Hartley's wandering eye for locale and placement is a compelling study of the mysteries of "story" itself, a formalist issue the writer-director has always dealt with in the most disarming, comic ways. There's less laughter in Flirt than in Hartley's previous movies (though that's not true of his subsequent work), but this is a more baldly self-referential piece than he has made before. -Tom Keogh.

Executive producers Dustin Hoffman and Mimi Rogers present the truth of the Holocaust so a new generation can understand why it must never be forgotten. Kirsten Dunst plays Hannah, a modern teen more concerned with trends than history. During the traditional Passover dinner, she zones out as her relatives harp about concentration camps. But then Hannah passes through a portal to the past, where she becomes her own ancestor in Poland during the Nazi persecution of the Jews. Director Donna Deitch provides an infinite library of Holocaust detail, re-creating the period with minute dedication. Haunting images, every costume, every hair, every light and shadow conspire to maintain a sense of desolate desperation. Suspense pervades as escapes fail and mothers with newborns are taken away. Only the magical context of the story, taken from the original children's novel by Jane Yolen, allows for a life-affirming ending. The performances may not be multifaceted but, considering the single-mindedness of the tale, the deep commitment of the actors makes every moment real and meaningful. Dunst seems able to carry a movie herself, and Brittany Murphy is mesmerizing as Hannah's sweet cousin Rivkah. [+]

It's been branded with the "blaxploitation" label, but there is little that's exploitive in J. D. 's Revenge, a film of well-drawn, articulate characters dragged into a supernatural showdown. Glynn Turman (Cooley High) is especially fine as the sensitive and quiet Ike, a determined student moonlighting as a cab driver, so wound up he's on the verge of cracking. Enter (literally) the ghost of J. D. , a violent, vengeful gangster murdered in the opening moments. He could be Ike's own Mr. Hyde, a dapper, flamboyant ladykiller with a fiery temper and a straight razor who slowly smothers Ike's easygoing personality. Driven by flashes of memory, he sets his vengeful sights on fire-and-brimstone preacher Reverend Bliss (Louis Gossett Jr. [+]

Return to the pre-Internet days of 1979, when teens had KISS on their T-shirts and Led Zeppelin on their walls (wait, other than the high-waisted pants, that could be today). Richie (Matt Dillon in an electrifying debut) and Carl (Michael Kramer) are two such teens stuck in the planned community of New Granada (rural Colorado). Richie is a two-bit hood in Jackie Earle Haley (Bad News Bears) mode. Carl, his partner in mischief (breaking curfew, setting off firecrackers), comes from a more stable environment. Once a gun enters the picture, petty crime leads to tragedy and then apocalyptic revenge. Over the Edge gets the details right: the kids, the era, and their frustration with an uncomprehending adult world. At times, it almost feels like documentary, except for a few moments of high Kubrick-meets-Walter Hill drama, as when Carl gets jumped by a couple of hoods, including Vincent Spano (Baby It's You). Directed by Jonathan Kaplan (The Accused) and shot by Andrew Davis (The Fugitive), Over the Edge was unavailable for too long and deserves to find the same audience as other teen rebellion classics like co-writer Tim Hunter's River's Edge. The period-perfect soundtrack ups the ante with potent tracks from Cheap Trick, the Ramones, and the Cars. -Kathleen C. [+]

Immensely popular when originally broadcast on Britain's Channel Four in 1992, The Camomile Lawn offers ample proof that British TV drama rises well above American TV in terms of sophistication, maturity, and literary influence. Faithfully adapted by Ken Taylor (The Jewel in the Crown) from the novel by Mary Wesley, this five-part wartime drama bears some thematic and structural resemblance to The Big Chill (in both films, a burial serves as a reunion for long-time friends) and chronicles a variety of secrets, lies, and passions among a close-knit group of relatives in Cornwall, just as World War II begins in 1939. The funeral that frames this fond reminiscence takes place in 1984, and it sparks fond memories of "the Camomile Lawn" at the cliff-side home of Aunt Helena and Uncle Richard (Felicity Kendal and Paul Eddington, reunited from the hit Brit-com Good Neighbors), so named because its fresh scent is a reminder of happier times before the war. Among the five cousins whose lives are deeply affected by the war, the dramatic focus remains on young Sophy (superbly played by Rebecca Hall, and in later scenes by Claire Bloom) and the deliberately mercenary Calypso (Jennifer Ehle), who marries for money and finds love-or at least sex-with whomever she pleases while her husband's away in battle. For a series that features ample nudity, sexual indiscretions, and surprisingly frank treatments of alcoholism, adultery, and rape, The Camomile Lawn remains entirely respectable in the way it weaves passion and pain into a cohesive, engrossing drama, rich in humor and humanity while discreetly handling less savory aspects of its characters' behavior. Also featuring Claire Bloom and Tara Fitzgerald (Brassed Off) in one of her earliest starring roles, the series develops its characters so effectively that the emotional impact of the war becomes a powerful bond between them, and we experience their joys and sorrows as intensely as they do. Best of all, Taylor's teleplay is blessed by abundant wit and humor-the best defense against the melancholy of war-and director Peter Hall guides his stellar cast with impeccable attention to details of character and context. The result is a very satisfying and richly authentic portrait of privileged England on the brink of war and personal tragedy, imbued with a resilient richness of spirit. A screen-text biography of author Mary Wesley is included (she was already in her seventies when her first novel was published), along with cast and crew filmographies. -Jeff Shannon.

Adventures in geezer land-make that lovable geezer land-describes this often manipulative comedy-drama that is rescued only by the personalities of its leads. Richard Harris is a feisty retired sea captain in a Florida retirement community who still wants to chase girls and squeeze the most out of life. He forces his friendship on an also-retired, shy, and routine-loving Cuban exile (Robert Duvall), who eventually reciprocates. But Randa Haines's film isn't quite sure what to do with these old characters. Though each takes a romantic plunge (with Piper Laurie and Shirley MacLaine), you ultimately know what the last stop will be. Still, Harris is a force of nature whose exuberance is contagious, if stagey; and Duvall, as the anal-retentive retired barber, has all the right prissy moves. -Marshall Fine.