Chuck Wilson

These young American members of an international group that uses the combative tactics of anti-abortionists to vilify those who’re doing business with a major products-testing company were recently labeled terrorists by the FBI and put on trial. That one can’t quite decide if these charming men are heroes or villains is a mark of Johnson’s calm.

Formulaic but refreshingly low-key weepie.

A resonance that is moving beyond all measure.

Mitchell -- gives a harrowing, beautifully conceived performance, the depth and arc of which can't be fully appreciated until the film's final scene.

This perfectly distracting, ultimately unsatisfying film feels like a James Bond flick in which the stand-in got the lead.

Director Uwe Boll (House of the Dead) pulls off a nicely staged fistfight in an open-air market at the start, but soon loses his way amid mind-glazing exposition and endless gunfire aimed at bulletproof giant lizards.

While the final revelation is laughably absurd, DeNiro and Fanning are so far inside their roles that one can't giggle for long.

For this viewer, the climactic scooter-gang rumble, heavy on plot twists and empowerment speeches, felt eternal, but for many, the happy silliness of the film's first half should carry the day.

While it isn't surprising that improv gods Short and fellow SNL vet Jan Hooks, as Glick's wife, Dixie, are brilliant, who knew that perennial onscreen good girl Elizabeth Perkins, playing here a has-been bitch-diva, could be so brittle and sexy?

In supporting roles, Ellen Barkin and Marisa Tomei are marvelously light-footed.

Insipid embarrassment.

Wisely, the filmmakers don't try to reform the real rich-bitch divas -- some cultural icons are beyond redemption.

Saving Shiloh takes place in 2005, but in its setting and sensibility, it feels like 1930s Walton's Mountain.

After a zippy first hour, the wackos wear out their welcome and the director, perversely, fails to show the big concert.

Peet and Poor make strong impressions in smaller roles, but then again, edgy and sexy is easier to make compelling than decent and nice.

The movie's saving grace is newcomer Goode, who has what they used to call smoldering good looks, and who can, not so incidentally, actually act.

Unsatisfying as crime drama but haunting as a meditation on marriage.

Although the film is a tad long, Mirkin ("Romy and Michele's High School Reunion") has managed to pull off a classy, gently funny movie in which no one throws up, a rare blessing these days.

Despite the rush to get everyone from place to place, director Frank Coraci (The Wedding Singer, The Waterboy) luxuriates in colorful visual detail and gives the locals their due.

As a calling card for the stylistic talents of a new filmmaker, writer-director Anna Chi's first feature is a success. As drama, it's a dud.

This debut feature from writer-director Shonali Bose has a powerful finale, in which the filmmaker uses imaginative camera angles and a vibrant sound design to re-create the turmoil and terror of the riots.

Promising yet problematic.

To help Prinze sail past the eventually unbearable clichés of Kevin Falls and John Gatins' script, director Mike Tollin has assembled an impressive supporting cast.

Pinned down and smelling death, the men grow into fully realized human beings, which makes for some fine performances, but doesn't exactly propel this epic, richly detailed film forward. The battle, when it finally comes, is brief, admirably non-gory and rather dull.

A little of this goes a long way.

Disappointing that the film's modern-day race sequences -- which follow quick glimpses of computer-run car factories and pit-crew practice sessions -- fail to excite the senses.

Undeniably precious, it may make some viewers fidgety, but others will find that the reflective melancholy that overcomes both director and cast (all superb) is a sweet contagion.

Director Richard Loncraine (Richard III) moves things right along, but during the final tennis match, his pacing is undone by sports-movie convention, particularly the witless color commentary offered by tennis legends John McEnroe and Chris Evert.