Chris Kaltenbach

It's a zombie flick that moves -- no stumbling, staggering living dead here -- in an atmosphere that feels like a Gothic docudrama, and it's freaky beyond all reason.

Only David Lynch could make the incomprehensible so compelling.

Madagascar doesn't do much, except make you laugh. All hail such a minimalist approach.

By turns grisly and hallucinatory, The Proposition is one of those grand, mythic Westerns, full of wide-open spaces and dank little hellholes, detestable bad guys and virginal women, laconic lawmen and wary natives.

Greengrass has a fine sense of pacing, keeping events moving. It's rarely hard to guess what's going to happen next, but events unfold with such gusto that there's barely time to notice that.

The perfect film for anyone who finds the Keystone Cops a little too understated and I mean that as a compliment.

De Niro and Stiller combine to bring on laughs you don't have to feel guilty about.

I'm Not Scared presents an interesting picture of youthful innocence challenged, but not a truthful one

One of the year's most unsettling -- and perhaps most illuminating -- films.

It's a shame his (Foxx) performance isn't surrounded by a better film.

Probably the most sweet-spirited sex comedy ever made. It's pretty funny, too.

Quinceanera may be the year's most nonjudgmental film, and therein lies both its greatest strength and most naggingly troublesome weakness.

Those not familiar with Proust will doubtless feel lost. Unlike the printed word, film does not offer the chance to pause and reflect, or go back and re-read a passage.

Clearly a spiritual descendant of the old Looney Toons cartoons; it's not hard to imagine Daffy, Bugs, Porky and their pals in the starring roles here. And that's a cinematic pedigree worth cherishing.

There's no denying the raw emotional power of this heart-rending story.

Whereas the TV series rarely flinched when it came to showing the animal world as it is, Earth always pulls back at the last second. It shows a cheetah pulling down a gazelle, but not the feast that follows.

If the movie were as funny as it is well-meaning, this would be one for the ages.

Partially financed by the liberal Move On.org, speaks most eloquently when it lets Fox News do the talking.

Thank goodness for Davy Crockett; without him, the Alamo could have proven the blandest heroic siege in movie history.

Hellboy is, to borrow a phrase, one helluva good time.

This is a marvelous film, a look at the strange, exasperatingly labyrinthine process of adolescence and the diverse ways people find to deal with it.

Bening's performance makes up for a lot of deficiencies.

Sure, this movie is proudly profane, but it's also funny.

A movie like this could easy slide into Shirley Temple territory, showcasing a child actor so full of sweetness and light and good, old-fashioned spunk that audiences wince. But Palmer, whose enthusiasm and energy never seem forced, avoids all those traps; her Akeelah is never less than believable.

The heartbreak comes not from watching her fail, but from realizing how easy it would be for her to succeed. If only she knew better how to try.

Swimming is perceptive and, ultimately, embraceable. Like the adolescent it so lovingly depicts, this is a movie you want only the best for.

While the film is obviously meant as a call to arms, the very single-mindedness of the approach could work against it.

The movie's not nearly as cool as the setup.