Elizabeth Weitzman

If it's not quite the best Will Ferrell movie he never made, Balls of Fury is, at the very least, a lot funnier than it has a right to be.

Zombie's sense of fun gets buried under the growing pile of bodies, and eventually, we're left with little more than a frenzy of sadism.

With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.

Unfortunately, Wendeers frustrated wake-up call quickly buckles under the heavy burden of its earnest message.

Even diehard fans will get more out of watching a four-minute music video than they'll find in this mixed-up mess.

Pegg and Wright are armed with an endlessly impressive arsenal of attention grabbers, from witty editing tricks to a wry soundtrack and a joke-packed script that demands multiple viewings.

Sloppy, self-satisfied and surprisingly heartfelt.

It's a tribute to both the subject and his biographer that this story of one man's experience is also a vital chronicle of the times in which he's lived.

Even lousy adaptations have worth, if they attract attention to little-seen originals.

A world designed for children, and most of the grownups involved don't quite understand it - on or offscreen.

A good-natured, gleefully juvenile comedy in the tradition of such classic snowbound fare as 1984's "Hot Dog: The Movie."

Though the leads do fine work, their efforts often feel slightly futile. Despite a few flashes of the darker tone percolating under the surface, the movie remains too well-mannered to truly pull us in.

Yes, that's an impressive collection of actors. And yes, it's deflating to watch them wandering in and out of half-written scenes with no discernable direction.

Zingaretti does a fine job shading a character that is written as an unalloyed saint.

Would that the film were as interesting as the setting.

Offering both too little material and too much, the movie leaves us in the bizarre position of understanding its subject no better by the end than we did at the beginning.

Though topnotch actors often can elevate mediocre material, they need a topnotch director to help them do it. Steve Carr ("Dr. Dolittle 2") is not that director.

Both Rourke and Tomei bring a tender, lived-in honesty to their sad roles.

Despite all the bike chases and bullet-dodging, the real sport here is Xtreme posing.

Burns doesn't even bother to disguise his New York accent, any more than he does his boredom.

It's easy to see the potential in Lottery Ticket, which boasts an entertaining idea and a game cast. But you only win big if every number hits.

Anyone awed by 1996's "When We Were Kings" - and really, that should be anyone who's seen it - will consider this vivid companion piece essential viewing.

Veering between black comedy and intense psychological drama, David Moreton's bizarre thriller never manages to get its bearings.

A meandering, amusing trifle, Werner Herzog's latest film is as cheekily flaky as his recent "Grizzly Man" was sharply down-to-earth.

Bonneville does provide at least one important service: The next time an older actress complains that there are no good projects for women of a certain age, she'll be able to hold this clunker up as Exhibit A.

Spacey is the film's primary draw, but the cast is uniformly solid -- a crucial asset when the screenplay and direction are not.

Looks great but tells us little about the subjects.

As irritating as an ideological college student, this earnest debut from Zak Tucker is determined to teach us a lesson about right and wrong.

Think you're too tough for a sentimental comeback story? Well, a few minutes with Rocky Balboa might just knock the cynic out of you.

Possibly the sourest revenge movie ever, Audition starts off as a sweet, low-key romance, then abruptly turns into a grisly, sadistic thriller.

Dylan's stoner comedy barely manages to string together a story, but lucky for him, his two stars radiate charisma even when they're hidden behind clouds of smoke.

"Vampires" doesn't suck, exactly, but the laziness and lack of imagination kinda bites.

Davenport herself seems stunned by how complicated the story turns out to be, which just makes her movie all the more worthwhile.

David Kaplan's sweet, if superficial, fairy tale won't change the world, but it makes nice use of its setting (Chinatown) and visual style (rotoscope animation).

Chéreau keenly understands both his characters and their unwanted world, from the dehumanization that occurs the moment one enters a hospital to the hope and fear that take over when one leaves.

Very few actual mothers will appreciate the manipulative ending, which even a child could spot coming an hour away.

It's interesting in the same way the early, rejection episodes of "American Idol" are oddly compelling. But, of course, you can watch those for free.

Enthusiastic performances help, but without a logical script or confident direction, the fizz very quickly goes flat.

His first-person perspective is unexpectedly frank as he shares some extremely dark moments -- spurred by increasing anger and doubt -- that civilians rarely get to see.

If you're looking for either insight or even just an introduction into the mind of a great artist, "One Day" is worth the effort.

An excellent actor too often stuck in unworthy roles, Nick Stahl deserves much better than Andrew Jenkins' derivative, self-conscious heist flick.

If you watched "Project Runway's" first season and wondered what happened to winner Jay McCarroll, here's your chance to find out.

Though he doesn't possess the dangerous confusion of his tragically misguided heroes, veteran director Marco Bellocchio does share their capacity for raising thought-provoking points that end in an ineffectual tangle.

You know that deflated feeling you get after you've spent a lot of time and money shopping - and have little to show for your efforts? This disappointing biography, about performance artist Reverend Billy, does an awfully good job recreating it.

Director Matt Reeves (who also made the much rawer "Cloverfield") so deeply understands the nature of childhood terror that Let Me In burns with a white-hot clarity.

Exhibiting the same sort of patience as his sensible hero, Philibert has created an extraordinarily humane portrait of a partnership between one adult and his very fortunate charges.

Nolot elicits the last response expected from a movie that's almost entirely about sex: a yawn.

Perhaps less-sophisticated preteens won't notice the amateurish acting, clunky direction and heavy-handed tenor of the lessons.

Just slightly funnier than you'd expect, this dashed-off teen comedy cribs from a thousand other movies, without coming up with anything original of its own.

There are times, to be sure, when Herzlinger's antics threaten to swing from cute to cloying. But the few missteps are gently redeemed by an unexpectedly charming finish.

As escapist fantasies go, this easygoing romance is a modest winner.

Here's hoping its old-fashioned sensibility appeals to contemporary kids, because we could certainly use more movies as smart and sweet as this one.

Most of the resulting film is downright bizarre. Which, as it turns out, is not entirely to its disadvantage.

It won't change anyone's world, but it'll keep kids happy - and cool - for a couple of hours.

Bergman and his gifted cast do an excellent job portraying the wounded, but still vital, connections that help these people heal even as they fervently believe it's time to give up.

This slickly packaged bit of Disneyana would probably work best as an attraction at Epcot.

John Greyson and Jack Lewis' experimental drama, about two prisoners who have a dangerous affair, is a challenging, flawed look at a little-known slice of history.

Strikes a nice balance between smart and sweet.

If Chalk had been made by Christopher Guest - an obvious influence - it would get the attention it deserves. Packed with sly jokes, hilarious performances and sad truths, the movie will probably become a cult classic among educators.

Jonathan, who was so great in "Roll Bounce," deserves better. It'd be overly generous, however, to say the same about anyone else involved.

Well, you've got to say this for Death Race: It knows what it is and doesn't apologize for it. What it is, incidentally, is junk.

It has heart and a good kick.

This is - allegedly - the final chapter in the series, and everyone involved appears invigorated.

Smart, imaginative - and nearly ­impossible to watch.

The result is a highly amusing folly, rendered with a surprisingly gentle affection.

The truth is, almost everyone planning to see Eclipse will know how things end before the opening credits even appear. So Slade and his cast can be proud that they consistently keep us involved anyway.

On film, and eight years after they were written, his urgent re-creations of an awkward first date, or a Village People obsession, feel both overly familiar and almost embarrassingly earnest.

Frankly, you may prefer the company of cinematic serial killers (Freddy vs. Jason) after you meet the pair at the center of this story.

The Painted Veil may begin too slowly, but it also ends too soon.

Southland Tales does have enough energy and audacity to suggest significant potential. But was it ready for public consumption? The answer is no. It's as simple as that.

From a consumer perspective, you're better off skipping the movie and putting your money toward their book instead.

This rather limp Australian comedy shares "Bridget's" theme, but none of its panache.

Ristovski needs us to feel his nation's torment, and he succeeds.

You'll need a strong stomach, but director Christopher Smith mixes lots of laughs into the gore. Despite its predictable finish, Severance is bloody good fun.

Layering his film with the songs that made his subject an icon, Tillman is aware that Biggie connected with his audience because he told stories others instantly understood. Notorious does that, too.

Cusack is excellent as Joan, the only woman in the film who values a girl's brains over her body, so it's a shame Fywell treats her with amused scorn.

Ultimately, the project suffers from a nearly complete lack of contextualization. We could surely use some background on Goebbels' complicity in mass genocide while listening to him brag about his beautiful, healthy children and happy family life.

The Groomsmen captures a single, specific moment, when responsibilities await but adulthood is still unwelcome. If their predicament strikes a chord, you may want to join Burns' boys for their final hurrah.

Conventional, but intensely passionate, war movie.

Riveting update of George Bizet's "Carmen."

With an appealing lead in Cameron, and a nicely brisk pace, there's a decent, midlevel Apocalypse movie here. But be aware that you will have to peel away several pages of the Bible to get to it.

Putting an entertainingly outlandish spin on "Matrix"-style action, Bekmambetov leans toward flamboyant special effects and operatic overacting.

Despite a brief, unnecessary foray into melodrama -- stands alone as compelling entertainment.

An enjoyable trip, as long as you don't mind traveling light.

As for Scott, his rather wry interpretation is competent, but neither daring nor insightful enough to arouse any great passion.

It feels as though we're on a journey with Benjamin, who proves to be a wryly funny, passionate and complex traveling companion.

The heavy subject is tempered with gentle humor.

Broderick is uptight; DeVito is obnoxious; and, somewhere, Nathan Lane is thanking his lucky stars he didn't get roped into this dreck.

What holds the movie together -- albeit tenuously -- is the surprisingly sweet-natured pairing of Jesse and Chester.

You may want to wait and watch "Never Land" the way it was meant to be seen -- as a straight-to-video baby-sitter.

Kurosawa may be considered the genius, but his movie would go nowhere without its extraordinary leading man.

Adam Rifkin's dank, relentless drama puts you savagely through the wringer without bothering to enlighten or entertain.

The story does feel a little threadbare, and much of the pacing is far too slow for a suspense thriller. But Perez and Leguizamo make an entirely believable couple.

The attempt to make this intimate movie more exciting is misguided; we can find plenty of manufactured thrills at the multiplex. What's wrong with a little quiet, old-fashioned charm?

Perry also spices things up with two of his most reliable fallbacks: music, and Madea. Having packed his cast with singers, he allows them all a moment to shine, with songs that deliver his patented lessons (trust in yourself, trust in others, trust in God).

If you're just hoping for a little easy escapism, bring your tissues and leave your high standards at home.

So who was the movie really made for? Mostly, it seems, for Cyrus herself, who needed to take the first, hesitant step in another direction.

It's always admirable when a director decides to make a risky film. On the other hand, it's not quite as commendable to also make a boring one.

Don't be fooled by the WB appeal; if you've ever been in high school, Cruel Intentions has the wiles to seduce.

Because although there are some very striking moments in Neil Armfield's debut, there are simply not enough to keep us absorbed the way a movie should.

Cahill deserves major credit for keeping the story from becoming mawkish or twee. He was also wise enough to realize it's Douglas' show, and as soon as he steps into the frame, you'll know it, too.

The sort of discovery meant to be savored by the few who find it, The Go-Getter was made for anyone who ever felt stuck, or alone, or desperate to find their place in the world.

Doomsday views are a knockout, but the script is a real disaster.

The laconic Lemarquis does a solid job carrying off Kári's dryly mordant wit, making this eccentric story well worth watching.

Krause is very nearly too passive. Deadpan is one thing, an empty vessel is another.

She (Walters) may be working with old news, but she shores up this shaky film with a heart the size of an ocean liner.

Something of a mess.

But the regularly overlooked Stahl burrows honestly into this unpleasant place, adding another worthy portrait to his indie gallery of interesting losers. He's still an actor worth keeping your eyes on. Assuming you can keep them open.

The highlights, of course, are the competitions and duels, choreographed by Sammo Hung.

Is it an exaggeration to call The Women the worst movie of the year? Well, yeah, probably. But it may be the most disappointing, given all the effort that went into it.

Just like the can-do VW Beetle of the title, Herbie: Fully Loaded succeeds adorably despite the obstacles in its path.

A story of miserable people leading miserable lives, Iowa is a sour vanity project: trash posing as a socially relevant "cautionary tale."

The thin, whimsical story is really better suited to a short film, but Hall deserves a lot of credit for carrying off such unusual material.

Cynics need not show up, but if you're looking for a feel-good fairy tale, this one's certainly sweet enough to satisfy.

Though all the elements are in place, there's not much magic to be found in Death Defying Acts, an intermittently entertaining but surprisingly modest romance from Gillian Armstrong.

Why would you watch a bad movie about better movies, when you could just rent the originals instead?

Intensely compelling documentary.

Very likely the most fun your family will have this month.

It's hard to say what's most disappointing about She Hate Me, Spike Lee's absurdly - and arrogantly overlong comedic drama. But there are plenty of options to choose from.

Is it possible to enjoy the company of the world's most irritating woman? Mike Leigh's surprisingly sunny dramedy makes a pretty good case that, in fact, it is.

Where Kim's best-known movie, "The Isle," was a stomach-churner, this beautifully composed canvas is the sort of film one falls into, resurfacing at the end with great reluctance.

A mediocre little thriller that might have promised cheap fun on Blockbuster's direct-to-DVD shelf is instead destined to die a quick death on the big screen.

Csupo needed two very gifted leads to do this beloved story justice, and found them in AnnaSophia Robb and Josh Hutcherson.

Masterly coming-of-age drama.

There's enough action to keep us watching, but little incentive to return when the movie's second half - yep, another two hours - hits theaters next week.

The original title of Jess Manafort's directorial debut was "The Beautiful Ordinary," and she shouldn't have changed it. After all, her cast is beautiful and her movie is ordinary.

Very little actually happens in the movie. There are no cathartic breakdowns or soul-changing epiphanies. Instead, we're offered a collection of small moments that feel so familiar, they remind us how false most films really are.

A good movie that could have been better, Joseph Cedar's sensitive Israeli drama falters when he trades sociological observations for political ones.

Despite the frivolous feel, it's clear the director intends for Bossa Nova to be a love letter to his two passions: Brazil and his leading lady (who's also his real-life wife). Neither lets him down.

Americans, for better or worse, have already seen plenty of budget-busting action flicks with half-baked political pretensions.

Built on the most basic (though quite charming) animation, songs and plots, the film does have an inescapably straight-to-video feel.

A provocative reflection of its rule-breaking subjects, Brett Morgen's political documentary re-examines the past while drawing unmissable parallels to the present.

A stunner of a movie. But all those gorgeous images never add up to a full picture.

Panayotopoulou does handle the material with sensitivity, but she relies too much on her young hero's unlikely precocity, which unwittingly diminishes the intensity of a child's very real grief.

Thought-provoking, but not quite as profound as it pretends to be.

Despite an admirable effort to explore topical concerns, both director and actor are obviously overwhelmed by the immensity of the subject matter.

The marvelous Dussolier makes a poignantly aging lothario, but Fillieres is so off-puttingly strange, we don't really care what she thinks about.

Dives into the brutal heart of a place most people would avoid at all cost.

There are plenty of outrageous characters, several surfing celebrities and a few truly compelling stories.

Don't misunderstand: the proceedings are pretty silly, and the scares were a lot fresher back in 1979, when we first saw "The Amityville Horror." But Cornwell and his cast take things just seriously enough to keep us at least intermittently on edge.

The time-traveling is a little awkward, and a mawkish turn of events feels forced and unnecessary.

Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.

Half drama, half social tract, Guy Moshe's feature debut is meant to illustrate the horrors of child prostitution in Southeast Asia. The intentions, unfortunately, are more notable than the execution.

The reason this franchise has been so successful - both on film and in Ann Brashares' original novels - is that, just like the jeans, it suits the needs of vastly different girls.

Crudup tends to take average parts in standard genre films and turn them into something special.

Are two Demis better than one? How you answer will determine the level of patience you'll need to sit through this bizarre pet project.

There are moments of genuine emotion between the wacky tryouts and the nail-biter finale, and it seems churlish to complain. But there's little room for laziness around superior players like "Shaolin Soccer" and "Bend It Like Beckham."

After a smart start, it sinks into sentimental goo that traps even the aggressively snarky Spade.

An uncharacteristically stiff Mortensen can't break free from the clichés that constrain his character, who feels more like a symbol than a real person.

There's far more to this groundbreaker who built an empire in the face of formidable challenges. So why would you miss it? Go already.

Yeah, the story is corny and tired. But when you aren't rolling your eyes, you'll probably be wiping them dry.

Perhaps simply discovering a film so dedicated to a different perspective is adventure enough.

Occasionally funny but ultimately desperate comedy.

This is an unashamedly old-fashioned children's movie, and a predictable message is part of the mission. But that's okay; what the movie lacks in surprises, it makes up for in whimsical fun.

Every trip requires patience, and this one brings plenty of rewards, in the ecstatic sounds of a country most of us haven't been able to visit firsthand.

Posner paints in pretty broad strokes. The movie is studded with convenient coincidences and obvious observations. But he has also put together a nicely polished production that shines with an almost earnest charm.

Starts strongly and is bolstered by thoughtful performances.

Like its underachieving protagonist, Steve Pink's teen comedy Accepted flashes just enough charm to get by but is too lazy to really make anything of itself.

Despite a subpar script and performances, this minor indie entry does possess a rather touching belief in its own charm.

Unabashedly earnest, completely predictable and packed with enough high-voltage dance scenes to make any audience applaud.

Roth prefers sentimentality to subtlety and cutesiness to complexity. Fortunately, Molina balances Port's precocity, bringing a welcome gravitas to this simply told tale.

Descends with dismaying speed into clichéd Southern melodrama.

Cowan, a gay Mormon himself, deftly melds facts with emotions, alternating between a history of the church's anti-gay drive and interviews with those directly affected by it.

Just when you think it's a violent drama, it turns into a comic road picture, before finally becoming a tender romance.

The plot is contrived, the performances are all over the board, and Chomski's camera ogles his actresses just a little too much.

Those who've read and loved the book should be satisfied, but it's reasonable to hope for more from the final entry.

We'll overlook the clichéd predictability of their partnership and note that Plummer, and M. Emmet Walsh as his lonely friend, are a pleasure to watch.

To Devlin's great credit, he keeps us rapt throughout.

Eastwood's performance is the movie's centerpiece, and as you might expect, it's just tough enough to hold everything together.

It's fair to say that Bullock's appealing portrait of a strong-willed Tennessee belle ranks among the best work of her career. It's just too bad the movie around her comes up short.

Granted, it's a far cry from the Pixar classics. But Pierre Coffin and Chris Renaud's nicely quirky, animated comedy has just enough edge to entertain every member of the family.

And though Samantha is written as a sly spoof of Ashlee Simpson, Faris frantically overplays her. She might have taken a tip from Smart, a lovely, understated actress who wastes too much time in lousy films.

The characters speak in Dialogue rather than English, the actors are so busy emoting they forget to act and the story feels like a first-draft college project.

Though predictable and a bit of a soap opera, Ferzan Ozpetek's Italian drama is saved by the tremendous appeal of its stars, Margherita Buy and Stefano Accorsi.

Suleiman isn't much for words, but when he's ready for action, there's no hiding his anger.

There's barely half a film here, stretched and pulled so thin you can nearly see through it.

The whole movie is a blast, thanks to a whip-smart script clearly written for kids and grownups alike.

Though overly self-conscious, this "Tale" is nonetheless wry, observant and frequently heartbreaking. It's also bound to make you feel better about your own holiday plans.

Alternately funny, sad and outrageous, Sacha Gervasi's terrific documentary feels like the lost sequel to “This Is Spinal Tap” -- and everyone involved seems to know it, except the leads.

It tends to get lost in its own delirium, which will enchant some and drive others bonkers.

It's a "First Wives Club" for single guys, giving voice to a whole range of authentic, if not always responsible, attitudes and emotions.

Dramatically miscalculated satire.

First-time filmmaker Edet Belzberg may be the first person to assign any value to the lives of the homeless Romanian youngsters featured in her harrowing documentary.

While Kim is unable to keep us riveted on her near-silent performance, the script and direction have a gentle sensitivity.

He does accomplish his main task, to take us into places civilians rarely go, and give witness to the immense challenges soldiers like his brothers face every second they’re required to be at war.

Lively and affectionate, Matt Tyrnauer's documentary is made for those who believe, as he does, that the work of fashion designer Valentino is worthy of the most respectful chronicle.

Director and screenwriter Adam Brooks, adapting Jennifer Egan's novel, doesn't seem to understand what makes a movie relevant.

Short, sharp and to the point, Vacancy has a single goal, and that is to scare the hell out of you.

Deftly intercutting between several tenuously-connected lives, Barbara Albert's astringent drama is transformed by bright flashes of compassion.

The Colombian tourist board won't be too happy about Antonio Negret's intermittently compelling thriller, which presents his native country as a cesspool of corruption and violence.

It's both a compliment and a criticism to say that Michèle Ohayon's scrappy documentary ends much too quickly. Every moment of this story - about America's unlikeliest matchmaker - is fascinating. We just need more of them.

The way he presents his romantic history is both clever and entertaining, but after a while the story becomes tediously familiar.

Despite a somewhat unpolished look and a few slips into cliche, the film makes up in sincerity what it lacks in sophistication.

Despite catchy animation and a few intense scenes, there's simply nothing here we haven't seen before.

What it is, really, is a trainer film, meant to prep the world's youngest ticketholders for the day when they're old enough to help turn Bruckheimer's bigger movies into blockbusters.

Unfortunately, despite some strong performances, the movie never really makes a case for its own existence.

Oddly enough, though, only the finale is predictable in a movie that appears to have been edited in an early-model blender. Not a single scene connects smoothly with the next.

Gentle and affecting, it offers an introduction to a mostly unfamiliar world while touching on issues recognizable to all.

For those who've become increasingly conscious of the connections between strangers sharing a city, it's a challenge that's hard to resist.

The ideal movie for people too lazy to read a Harlequin romance, this by-the-numbers love story doesn't offer a single surprise.

A rare opportunity to see shorts without having to spring for a ticket to a film festival.

Anybody who missed 2006's excellent indie "The Puffy Chair" has another chance to discover the off-kilter world of the Duplass brothers.

While their latest achievement can't quite one-up "WALL-E," it offers soaring highs that are bound to enchant viewers of any age.

Slams us with an absurdly repugnant ending, for absolutely no reason other than to shock viewers and generate cheap controversy.

The real miracle here is that the hard-working cast manages to turn McGowan's script into an intermittently touching tale.

Certainly has the look and feel of a masterpiece, but it's missing the emotional core that most moviegoers need.

In Bahman Ghobadi's heart-tugger about Kurdish orphans, those wide eyes are too often used as a manipulative device.

Noya is a natural actor, and there are genuinely sweet moments between him and the adults. So, why did Agresti feel the need to pour so much added sugar down our throats?

So yes, you'll roll your eyes when the coach defies Papale's naysayers by insisting that "he has heart." But if there's a single surprise on this familiar field, it's that the movie does, too.

While some may be put off by Peggy's wild-eyed mania, and the film's broadly comic tone, Shannon makes this lost spirit strikingly sympathetic.

Like a lemon that's been tricked out with a fancy paint job, Fast & Furious won't stand up to much scrutiny under the hood.

Were the casting stronger, the film -- would have had a better chance of transcending its lack of subtlety.

Yektapanah's stripped-down methods --remote setting, a cast of locals, the sparest of scripts -- are used so effectively, it quickly becomes clear that he's most concerned with the similarities rather than the differences between people.

Just like its increasingly wan antihero, this blood-soaked series is on its last legs.

Anyone familiar with Reno's politically minded monologues won't be surprised by her fury, which has sometimes been fueled by a self-righteousness that's undermined her valid observations.

Who would have thought that a real-life tale of sex, drugs and murder could be so instantly forgettable?

Still, if it gets little else right, at least Epic Movie is accurately titled: It may be only 86 minutes long, but it feels as if it lasts forever.

Heartfelt but often plodding and awkward, the movie feels like a somewhat subpar Sunday night TV movie.

There's little difference between the first and second movies -- both written by Besson -- so the perfunctory story line will feel familiar to fans. But the action, and the head-spinning stunts of those agile lead actors, will never get old.

Dagur Kari both wrote and directed, so he has no one else to blame for so little originality. Neither does his hard-working cast, all of whom deserve better.

The jokes, fast and furious enough to satisfy both teens and intrepid parents, are far funnier than they are raunchy.

Although it's recycled from start to finish, there are some decent jokes laced throughout, plus enough gore to satisfy the most bloodthirsty tastes.

Has the stilted, slightly surreal feel of a stage piece. Sometimes it works, but too often it doesn't.

It's a bad idea to get too fond of any character, no matter how worthy he (or she) may appear.

Selim's script doesn't hit new territory, but beautiful cinematography takes it just far enough.

Both the humor and horror are as broad as the side of the Oldfields' barn, but King and the cast are clearly having fun.

The whole thing burns out well before the director reaches his ­final destination.

Charismatic and complicated, Noonan tries to run the movie the way he runs his town. But while the director sometimes appears to be glorifying Noonan's choices, reminders of uncomfortable reality intrude regularly.

Perfectly inoffensive and almost entirely unfunny, Paul Blart: Mall Cop is more of a numbing experience than a painful one.

Jennifer Aniston and Steve Zahn? Who thought that would be a good match? So it's to everyone's ­credit that by the time the ­movie is over, you'll wonder why they were never paired together before.

The result is a quietly simple fable that hits you hardest after it's over.

Regrettably, neither cast nor crew is able to save it from itself.

Both director and cast exhibit the dedication of those who truly believe in the message at hand. But with so much earnestness onscreen, the message occasionally gets in the way of the movie itself.

The plot makes absolutely no sense.

Fels like an awkward student film.

A neat little almost-thriller, this witty French diversion manages to mess with your head with little apparent effort.

You've got to give Norm Macdonald credit. When he cheats his audience, he warns them first.

Don't let the title fool you. The one thing they have in common is how decidedly unerotic they are.

Visually arresting and deeply disheartening, James Longley's impressionistic documentary explores the pain of a shattered country by homing in on a few tiny shards.

There are no surprises here, in other words, but there aren't supposed to be: This is a comfort film, the on-screen equivalent of mac and cheese - though with a splash of truffle oil to class things up.

If you think of Reilly as little more than a camp icon, you've got a lot to learn.

The striking directorial debut from fashion designer Tom Ford -- is so unusually beautiful it would be easy to dismiss it as superficial.

It's hard to remain unmoved by Kang's deeply heartfelt homage to his nation's past.

Koury's harsh documentary is likely to leave you unsettled and depressed. Which is, clearly, just what it's supposed to do.

Madhur Jaffrey and Faran Tahir fare considerably better as Nina's conservative mother and brother, leaving us confused ourselves: Why didn't Patel focus on them, instead?

The movie's 85 minutes speed merrily along on a steady stream of outrageous antics, entertaining performances from seasoned pros (like John Witherspoon, as Craig's dyspeptic dad), and unforgettable introductions to new talent.

The early scenes are flashy fun, and Sturgess (handsome Jude in "Across the Universe") makes a convincing math geek. But the requisite romance and Hollywood-style ending feel as fake as the air allegedly pumped into casinos to revive flagging players

Reeder makes a compelling lost soul, so that even the most soddenly moralistic moments are worth watching.

This is not, frankly, a movie you'll remember long after you see it. But it has just enough moments of genuine intimacy to indicate that Masterson ought to give directing another try.

Novice filmmaker John Henry Davis deserves credit for tackling big issues, but he forgot one of the most important credos of his craft. No matter how vital your message, a good story beats a sermon any day.

Allen and Short seem to be having so much fun that their enthusiasm is entirely contagious. Let the season begin.

Think you'd be happy watching Berry do little more than look beautiful? Perfect Stranger gives you plenty of opportunity to find out.

With its carefully-chosen soundtrack, funky animation, and enthusiastic interviews, Dean Budnick's affectionate documentary pays apt tribute to Wetlands, a local landmark that closed in 2001.

Although this ­satire of Hollywood inanity isn't the comic ­classic it could have been, Downey's gonzo performance is a must-see.

It's the subject himself, still brimming with passion in his 80s, who provides the most inspiring moments.

Just as you need two hands to clap, explain frustrated young activists, the ­Dalai Lama requires a reasonable partner with whom to negotiate. And right now, it seems, the Tibetans may as well have their arms tied behind their backs.

Won't replace anyone's annual viewing of "It's a Wonderful Life." But your family could find a worse way to take a holiday break.

Neither particularly funny nor especially scary. But it's so cheerfully silly, you may just have fun with it anyway.

Young kids will be so distracted by the silly songs and clever contemporary references that they won't even realize they're sitting through cinematic Sunday school.

Silva intends to keep us guessing, and it's fair to say he takes us in unexpected directions. But don't expect any flashy Hollywood twists. The surprises come from Catalina Saavedra's intense lead performance.

Though some see Treadwell as an idealistic martyr who made the ultimate sacrifice for his passion, others vilify him as an arrogant fool who courted his own end.

Goldfine discover so many fascinating themes within their seemingly narrow subject that anyone with the slightest interest in history or human nature will find it absorbing.

It's clear that Kor's goal is to keep people talking, and thinking, about impossibly difficult subjects. And there's no debating her success in that regard.

What it is, to borrow a word from the ever-eloquent spider Charlotte, is average. Don't misunderstand: While never quite enchanting, this "Web" is perfectly entertaining. But it could - and should -have been so much more.

If "Saw V" offers an example of how little filmmakers can get away with, Splinter proves how much a director can do with next to nothing.

Like picking out a family at random and walking into their house during dinnertime. Sure, their conversations are fascinating to them. But to you, it's just boring, meaningless chatter.

The good news for Carey is that she gets to prove she's a pretty decent actress after all. The bad news, of course, is that she's done it in a movie no one has any other reason to see.