Elizabeth Weitzman

Director Daniel Burman examines the ways people cope with the passing of time, whether it's weary mall employees, a broken family or the diminishing Argentinean-Jewish community.

If you're a rave virgin, it'll more likely make you feel like the guest nobody invited. And why would you pay nine bucks for that?

Schrader and Nolte are both at the height of their expressive powers in a film that, in its concentration and sobriety, leaves a lasting impression.

Whatever it is you're looking for - comedy, horror, parades of singing frogs and dancing kitchen appliances - you'll find it in Satoshi Kon's anime adventure, a jaw-dropping feat of imagination.

The power of this plot comes from the drudgery of daily existence, not shocking revelations or dramatic encounters. Some stories, Teixeira is wise enough to realize, are best left unadorned.

Redbelt will fascinate those who share David Mamet's interest in mixed martial arts. But its hold may be weaker on those who don't.

Burman tends to focus very tightly on the details of individual identity - religion, nationality, gender. It is all the more striking, then, that his restrained and unassuming films are wise enough to speak to every adult.

Director Wisit Sasanatieng uses every trick imaginable to create surreal postmodern nostalgia. Has he wound up with pure camp, or a cult classic? As he clearly understands, the best B-movies are both.

The cartoonish characters and outsize performances don't make a smooth transition from stage to screen.

Clearly, interest has waned - both because children grow up and because they move on. It might be time for the folks behind this particular fad to do the same.

A vital one for movie fans.

You don't even have to be familiar with the first book in Rick Riordan's popular fantasy series to enjoy Chris Columbus' energetic adaptation.

The flaws are more than balanced out by the risks the earnest Kelly encourages his excellent cast to take.

All the subtlety of an Olive Garden commercial.

While it's a geek's paradise from scene one, newcomers are likely to feel left out until they get their bearings. Fortunately, Whedon's characteristic humanity, coupled with the slyest sense of humor in Hollywood, greatly eases the transition.

It's only when he (Wang) slows down and allows the characters to connect emotionally that his movie's unflinching honesty takes your breath away.

The slapstick gets a little too silly, and a rushed ending feels unsatisfying. But everyone whose family boasts an excess of opinions will relate.

A fan's dream, A.J. Schnack's worshipful documentary about the musical duo They Might Be Giants does a nice job reflecting the thoughtful, quirky sensibility of its subjects' songs. Just don't expect to learn much about the guys themselves.

What "The Exorcist" might look like if Madonna rewrote it, this silly fright flick finds college student Casey (Odette Yustman) haunted by a Kabbalistic demon.

Wouldn't you rather learn about his culture from Norbu than from Richard Gere?

Everyone involved, from Marla's defensive parents to the cynical journalists who promoted and then turned on her, seems to have some sort of agenda.

Though Ice Cube and Morgan should make an ideal team, neither seems particularly comfortable grappling with Talbert's amateurish script. Most of the laughs, in fact, come from the strong supporting cast, led by a high-energy Williams and the unflappable Devine.

"Grace" may be based on a true story, but barely a moment in it feels real.

Some consider Leigh Bowery a visionary performance artist. Others will see a selfindulgent narcissist. You may want to decide for yourself.

You don't have to rise very high to get above the level of these gags.

This time around, the cult director dispenses with the feminism, the satire, and even the issues, so he can concentrate on his true passion: the dissecting.

Most crime stories are content to simply exist, wallowing in their own base violence. But David Michôd's fierce debut takes the genre apart, finding a reason for the madness that propels it.

I can't imagine why De Niro, who is a fine comedian, is still coasting on his gangster act, and surely Crystal can do something other than play himself...it feels a little like an exercise in laziness.

Breillat has made an important, even essential work about the exploitation of young women's sexuality, but is not she complicit as well?

For the broader audience, this seems both suffocating and confusing -- True opera buffs, however, are more likely to feel thrilled, as if they're privy to a private production of the highest caliber.

The movie is mildly notorious for a (relatively chaste) scene in which Radcliffe's character loses his virginity. But if you're looking to watch this former child star grownup, track down his classic guest turn on TV's "Extras" instead.

The endlessly inventive del Toro creates visual fantasies unlike any other, and the creatures on display here are truly extraordinary. But amid all the costumes, all the action, and all the special effects, it's the humanity that makes his work so memorable. Yes, the monsters are amazing. But the moment when a heartsick Hellboy discovers Barry Manilow? Priceless.

This amiable, off-kilter Australian comedy pits parental manipulation against adolescent pride, with generally amusing results.

Well-meaning but frustratingly unfocused documentary.

Both written and played in broad strokes, each character quickly devolves into the most simplistic of symbols. The results comes across more as an agenda than art.

Cheshire refuses to look away, no matter how complicated things get. In fact, it's the tangled, tortured roots that most inspire him, turning this deeply personal film into a potent meditation on our nation's past.

Provocatively intentioned, The Reader is a movie worth seeing - the kind of film you'll think about for days afterward. But when all is said and done, you're likely to wonder why the impact wasn't greater still.

Far surpasses original.

Thomas does an excellent job exploring the incendiary environment that shaped the band in the late 1960s. His primary interest, however, is simply to express and explain the thrill the MC5 still inspires.

There are so many small, satisfying moments when the women are allowed to be real that it's a jolt each time they become superficial symbols.

The movie is hindered by its weak script, but there's also a bigger problem to overcome: If we want to laugh at superficial celebrities, we already have plenty to choose from in real life.

As insightful as it is entertaining.

There's nothing about Josh Crook's cop saga that will strike you as new, but he and his talented lead do build an epic feel into this gritty tale of corruption.

The kids here do come across as genuine people, struggling with issues everyone can understand.

Director Niels Arden Oplev keeps the action relatively tight. But he revels in the story’s sadism to an uncomfortable degree, especially in a needlessly vile rape scene. Two more sequels are coming. Here’s hoping there’s just a little less hate in each.

Tossing off one-liners about drugs and porn to a New York audience, even Waters sounds a little bored.

Passionate and ambitious, John Walter's chronicle of a Public Theater production is too scattered for broad appeal. But those who connect with his themes will find themselves quickly drawn in.

It's hard to imagine what Akin left unexplored - but here's hoping he'll share his discoveries if he ever returns.

By the time you've worked through the allegorical implications, you may be wondering why you didn't just go see "Charlie's Angels."

More vanity project than full-fledged film, Manu Boyer's modest chronicle is best left to diehard Kiefer Sutherland fans.

This is simply too vast a task for a filmmaker as inexperienced as Estevez. Compared with, say, Robert Altman's similar but far more complex "Nashville," Bobby mostly comes off as a Hollywood public service announcement: passionate, righteous and strikingly removed from reality.

Goldberger's stubbornly insular script - adapted from a novel by Harry Crews - might have fared better on stage, where the story would feel more contained than suffocating. But by the time you crawl across this finish line, you'll know just how those sluggish the birdsfeel.

Bursting with so much amped-up energy, you may need to rest once it's finally done.

There are certain elements in life that you either have a taste for, or you don't. Like coffee. Cats. And Mr. Bean.

While Diaz and Kutcher make their clichéd characters as likable as possible, you can bet on this: Any movie named after an already-stale ad campaign isn't likely to gamble on the unexpected.

A film that is both deceptively modest and deeply resonant.

Yeboah is so levelheaded about his own accomplishments that the swelling score and emotional narration from Oprah Winfrey feel embarrassingly sentimental.

Stocked with an impressively high-quality collection of New York actors. Unfortunately, in asking them all to play such unlikable characters, Walsh flushes too much of that talent down the drain.

Although it often feels more like a promotional tool than an objective documentary, there is no denying the emotional resonance propelling Matt Ruskin's first feature.

The intriguing elements never quite coalesce into a consequential whole; we leave this yuppie nightmare feeling both unsettled and unsatisfied.

Tolan writes regularly for smart shows like "Rescue Me," but his best instincts deserted him when he set his sights on the big screen for the first time.

Heavily influenced by Guy Ritchie, director Mo gets most of his comic mileage from a Hasidic Jew and an angry dwarf -- which should tell you everything you need to know.

Long stretches go by without dialogue or discernible action. But there are significant rewards for those willing to accept the movie's deliberate pace.

Accept the challenge. What's good enough for Bart is good enough for you.

If you're going to make a movie about men talking, shouldn't they have something important to say?

When was the last time you had your mind blown by a movie? Because when Inception ends and the lights come up, you'll be sitting in your seat, staring at the screen, wondering what the hell just happened.

Happily, Morrison's actors grasp his intentions perfectly, shading their roles so well that we never quite get a handle on anyone. Each player is outstanding, but the highest praise must go to Weston.

There were a lot of people who came to regret investing their time and money in Park's brash dream. You won't be one of them.

Linney hits a single note for her uptight character, while Walters travels the scale indiscriminately. Her outsized eccentric darts from amusing to grating. Only Grint is just right, as the boy they, and the film, can't do without.

Could easily be just another episode of "Hey Arnold!" the TV show. Except that it's three times as long, and not half as much fun.

This sci-fi spoof is desperately bidding for cult-classic status. It falls far short of that goal, but with so many jokes flying wildly around, it does hit its targets every once in a while.

Though Harden has the showier role, a subdued Pantoliano is the movie's real star. Sometimes, the quietest performances are the most powerful.

One of the freshest, richest, most original films to come out of Hollywood in a very long time.

Despite several attempts, we're still waiting for the drama that convincingly captures the experienc of soldiers who've fought in Iraq. Stop-Loss" isn't that film, but at the very least its efforts are honorable.

Mostly, though, you'll appreciate Grenier, who approaches this minor project with hilarious and generous abandon.

Feels more respectful than real.

With its cash-flashing men and dirty-talking women, the movie already feels dated. But it wouldn't have been much fun five years ago, either.

The actors - including Aidan Quinn as Lena's lover - work hard to balance a mood that fluctuates between stillness and stagnancy.

Clearly, nobody's going to win any awards for this, but maybe Bale and McConaughey knew what they were doing after all. The music is loud, the action is fierce and the bodies are buff.

At this late date, filmmakers who draw inspiration from the Mafia had better have a whole new angle to offer. Otherwise, they'll end up with a movie like 10th & Wolf.

Like the average best-man toast, Debbie Isitt's amiable mockumentary has many funny moments, a few touching ones and some that fall just slightly flat.

Surprisingly sweet and smart... LaBeouf does an excellent job, and the talented Beeney is one to watch.

As intriguing and unusual as its title, this anime debut from CGI mastermind Michael Arias bursts with enough ideas for three movies.

Characteristically lacking in narrative -- but what it misses in traditional plot devices, it more than makes up for in passion.

The actors elevate what might have been fluff into a genuinely moving tale, and the action is so much fun that it doesn't even matter if you've seen Molière's plays before.

Director Andy Fickman seems to have thrown everything into this artificial comedy, in the hopes that something might stick. Almost nothing does.

Every generation deserves its ultimate high school romance, and Nick & Norah's Infinite Playlist clearly aims to take the slot currently open. Despite a valiant attempt, though, it doesn't quite make the grade.

We could all use a little more Noel Coward in our lives. But the fizz falls flat in Stephan Elliot's adaptation of a lesser-known play, which, while blithe enough, has little spirit to speak of.

This sensitive drama will appeal to anyone who has strained against the confines of family - or basked happily in its comforts.

Hits so hard because it feels so real.

Good or bad, it's either a must-see in your house, or not even on the radar screen.

Hickenlooper does a nice job blending Bingenheimer's flashy past with his somewhat pathetic present, creating a genuinely compelling study in diminishing returns.

As it is, while Tunney is undeniably lovely to look at, she's just not that much fun to be around. And for 100 minutes, she's all we've got.

Both Tatum and Dewan know how to move, and their co-stars (including musicians Mario and Drew Sidora) are equally gifted.

Intriguing almost in spite of itself.

Even if you overlook the lousy lighting, awkward editing, and uneven acting, there's so much talking -- and so little story -- that your mind is likely to wander.

You must really love a movie if you decide to remake it just three years after its release. But unless you also intend to improve upon the first attempt, what's the point?

The movie's strongest draw is its kitsch value -- along with a wisecracking Bruce Vilanch, the cast includes '80s TV refugees Jm J. Bullock ("Too Close for Comfort") and the Greatest American Hero himself, William Katt.

Must be the smartest -- and most disturbing -- movie about parenthood in ages.

The martial arts are well represented, the gentler arts -- like, for example, acting -- are not.

Intermittently compelling biography.

Tapping into the basest fears of war while subverting all expectations, director Susanne Bier deftly reads between the headlines.

Judging by the audience reaction -- there is apparently something funny about the idea of a man trying to hump a goat in heat.

Most interesting are the founding mothers and fathers of this movement, who first appear amusingly nostalgic and eventually grow exceptionally bitter as they complain about the packaged and ambitious nature of artists today.

Abranches intends for a religious parable by way of Greek tragedy, but the film drowns in a morass of portentous signs and poetic symbols.

If you're in an especially generous mood, you'll give in to a few laughs. By the end, though, you just may find yourself pining for the good old days of Pauly Shore.

Proyas creates an engaging, high-octane energy, boosted by an up-for-anything cast.

The chemistry between the leads is more cozy than sexy, but the biggest issue is Latifah's noticeable - and admirable - discomfort with the rom-com clichés found throughout Michael Elliot's screenplay.

Despite its impressive pedigree and unshakable assurance, Knight and Day is nothing more or less than an average popcorn flick.

A charming little valentine to the mysteries of attraction.

So sudsy it should have been rinsed off before being allowed into theaters.

The worst kind of horror movie: trash that takes itself seriously.

It's a must for those who like thrills laced with a sense of humor.

Naive or wicked, idealist or egomaniac: Nothing in Ralph Nader's character is agreed upon by everyone in this fascinating biography - with one exception. And the title says it all.

Surely no other has done it quite like this group.

There isn't much here besides two self-absorbed kids.

It's no easy trick to invite viewers into an utterly bleak setting populated by the dissatisfied and small-minded. But a droll script and generally deft direction make the Icelandic chill surprisingly inviting.

Charmless and derivative.

A visually lush and eerily enigmatic parable of female sexuality, Lucile Hadzihalilovic's ominous fairy tale raises questions you'll be wondering about for days.

The result is both tragic and darkly comic - in this complex environment, blame and sorrow are locked in a partnership of absurdity.

So misguided as to be genuinely mystifying, Jeff Stanzler's queasily blended political psychodrama isn't simply a lousy movie. It's also a lousy movie that boldly exploits the events of 9/11.

If he earns no other accolades for his directorial debut - a distinct likelihood - Lee Daniels deserves some kind of award just for assembling the most bizarrely random cast of this young century.

Characters do little more than run around the same track incessantly, leaving us waiting for revelations that never arrive.

A convoluted mess of a horror movie.

The good news is the script for Scooby-Doo 2 is marginally better and the eternally irritating Scrappy-Doo is nowhere to be seen.

The criterion couldn't be simpler: does a 20-minute martial arts battle featuring Thai superstar Tony Jaa sound like the ideal way to spend your time and money? If not, move on.

Occasionally exhilarating documentary.

A movie about identity that can't quite pinpoint its own, Andrew Douglas' road-trip documentary about the Deep South does eventually meander toward audience enlightenment.

Baldly superficial, it probably should have been given a less demanding metaphor to live up to.

While this paranoid thriller is overly familiar, it's still plenty unsettling.

Dev Anand's unintentionally hilarious Bollywood romance would be considered terrible by any artistic standard, but it serves as proof that sometimes the worst films make for the most fun.

As earnest as it is awkward, the film has so much spirit, it's hard to dismiss entirely, even at its considerable worst.

If Michele Ohayon's absorbing documentary didn't provide the proof, you'd never believe the story she tells about Holocaust survivors Jack Polak and Ina Soep.

Some may wonder why Jennifer Aniston keeps taking projects about single women unlucky in love. But the bigger question in Love Happens is why, with her pick of scripts, she chose one so utterly uninspired.

The overall effect is that of a deferential video you might find at a Mozart museum: educational, but not exactly inspiring.

A movie without a moment of truth to be found.

There's no denying the beauty of Schwartzberg's landscapes, or the power in many of his chosen stories - from the Texas oil well fighters to the Boston father who helps his handicapped son win marathons.

A visually lavish but somewhat sterile adaptation.

A funny and insightful exploration into identity issues we all can recognize.

As good as Nolte is, the relatively unknown Morgan matches him scene for scene. And he's not the only impressive newcomer. Remarkably, this confident indie is the first feature from writer-director Ponsoldt, who shuns any slickness to embrace the rough edges of his low-budget, bare-bones story.

This is a vital history lesson that many of us have missed but few are likely to forget.

Just when it seems he's left himself with no way out, he comes up with a finish guaranteed to leave you breathless.

Though we see the same man throughout the bumpy tour captured here -- always calm, steady, faithful -- it's bound to prove an enlightening portrait for those who know him only as the guy who once worked with Peter Gabriel.

A small but important film about small but important lives, the latest drama from Shane Meadows further confirms that more people should know about this gifted director.

At its best when it embraces its true identity, as frivolous fun.

Every movie's gotta have a gimmick, and Crank's is that it has an excellent shot at ending 2006 as the worst film of the year.

Angio's film is an excellent introduction, but it won't be long before you realize that his subject is too complex to be contained in a single admiring tribute. When you want to know more - and you will - you'll be glad there's somewhere else to go for a bigger picture.

As fans of "Freaks and Geeks" know, Segel is a master in the art of humiliation, and it's been a long time since we've seen anyone debase himself so thoroughly for our amusement.

Why are innovative educators met with so much resistance? And why is our system falling so painfully short? Perhaps ­because so many of us don't realize just how dire things ­really are.

If August has turned the children in your life into Bored Girl and Fidget Boy, you could find worse ways to keep them entertained.

The real highlight is watching the dancers as they progress from their first, tentative improvisations to the final, complex performance.

A shaky but promising debut, Brian Jun's downbeat family drama is likely to make you feel a whole lot better about your own life.

Unfortunately, Vardalos has no one else to blame for a shockingly amateurish effort that goes from bad (her oddly insincere performance) to worse (consistently sloppy camera work) to make-it-stop (it would be an insult to television to call the script sitcomish).

Director Lee Chang-Dong has boldly crafted a challenge rarely found on film. But if you choose to meet it, you'll be rewarded with one of the most original, indelible romances in recent memory.

If ever a movie could convince the masses to don communal shoes, this is the one.

It's a pleasure to watch a thinking-man's actor like Sinise adapt so easily to this challenge; he even keeps his dignity when forced to participate in the inevitable martial arts-inflected showdown.

Redmon has captured some compelling footage, but his lack of resolution feels like both a copout and a luxury.

The full title of this animé import is WXIII (Patlabor the Movie 3), and if you think the name's confusing, you may want to spare yourself the work of figuring out the film itself.

Though the director takes a thoughtful approach to the material, mixing humor and poignancy, he undercuts our sympathy considerably by dragging things out to an inexplicably indulgent degree.

We never learn why most of his subjects remain loyal to a faith that so explicitly rejects them.

The script is merely serviceable and too reminiscent of similar fantasy tales. But kids will instantly relate to the gentle Soren, while watching wide-eyed as he faces each challenge.

Director Donald Petrie doesn’t have much to brag about here, but at least he gives us some nice scenery to look at.

The beginning is awkwardly earnest, but the play matures considerably while retaining its youthful energy and enthusiasm

Yep, Hess wrote and directed "Dynamite," and here's proof we shouldn't have rewarded him. The hollow "Broncos" is even more cruelly disdainful, designed primarily to scorn the pathetic lives within.

A surprisingly adult exploration of religion refracted, as always, through (Smith's) insistently pop-culture kaleidoscope.

Lingers too long on wordless, symbolic shots of the wall itself. But there's no denying the power of seeing two cultures standing so helplessly on opposite sides of a single fence.

It's the next best thing to being front and center.

Subtlety has never been Perry's strength, but his previous films balanced the sermonizing with good humor and sincerity. Perhaps next time, he'll ease up on the lectures, and bring back the love.

The best that can be said about the big-screen Bratz is that they are not nearly as appalling as their toy-shelf twins.

My 3-year-old date had a fine time, pronouncing the movie "very good" and backing up her assessment by going 90 minutes with barely a fidget. Which may actually be the highest compliment any movie can ask for.

By the end, Holdridge has captured the bittersweet complexities of romance with a wisdom that proves surprisingly seductive.

The film's slightly awkward self-consciousness is balanced by an appealing, gently deadpan performance from Palmieri.

The magic simply isn't there.

When Kikijuro goes soft, the film falls apart, with him becoming a slapstick clown, mugging shamelessly to entertain Masao and the audience.

It's not so much good material as divinely inspired delivery.

Takashi is a master of the jagged quick cut and the shocker finish, and his head-spinning story is pumped up with almost more bravado than a single screen can handle.

While Fay Grim is too uneven to win Hartley many converts, it is laced with enough intelligence and wit to remind longtime fans why they were drawn to his unique vision in the first place.

In performance, Earle comes across as a successor to Woody Guthrie or Johnny Cash. In this fawning portrait, however, he seems more like music's Michael Moore.

This sci-fi fantasy doesn't exactly make sense, but it sure looks cool.

Travels so deeply into the confusions of female adolescence that you'd never know this deceptively languid British film was directed by a Polish-born man.

Lawrence's co-stars are more than ready to provide salty humor while creating a loose, almost improvised feel.

One of the most delightful movies to come along this year.

It is to Padilha's enormous credit that he steadfastly kicks aside our own culturally imposed frames of reference, insisting that we see the truth, and the humanity, within this very real story.

The town's entrenched racism is impossible to ignore, but the efforts toward change make a compelling history.

He may be a first-time feature ­director, but music video master Benny Boom clearly knows how to pull a midlevel movie ­together.

The real stars of this film are the same ones who stole every show -- women who once boasted names like Tempest Storm, Candy Cotton and Lady Midnight. Their stories are alternately tragic and inspiring, and often very funny.

The actors seem exhilarated.

The problem is, Shiva found so many inspirational moments that she wasn't able to edit them into proper focus. As a result, the movie jumps from scene to scene, too scattered to make a strong connection with anything, or anyone, in particular.

Genuinely touching and unquestionably sincere, the movie certainly has heart - but it could have used a little more game.

Among the cast, Chandrasekhar is easily the funniest of the Lizards, though in fairness, each has his moments. The movie does, too; just expect them to shrink exponentially depending on your level of sobriety.

The movie drags in some places and throbs in others, but it looks and feels like a bigger production than it actually is. The largely unknown cast is especially strong - this may be your first chance to discover them, but it won't be the last time you see them.

Overly polished, but deeply affecting, documentary.

Just like the movies it parodies, this one feels over long before it's actually done.

A raucous, riveting account of the greatest party you were never invited to.

A likable, if somewhat earnest, exploration of cultural identity.

The movie tends to wander between story lines and characters without any real sense of purpose.

Kline has a ball, while Dano turns in a pitch-perfect performance. He never mocks his character's desires, or undersells his fears.

While Yu's experimental approach brings valuable insight to the human condition, the interviews themselves too rarely measure up to her ambitious structure.

So French you may have to buy your ticket in euros, Christophe Honoré's musical trifle feels ready-made for emotionally woozy undergraduates.

Too solemnly boring to entertain parents or older siblings - but, alas, too loud for a long nap - Yu-Gi-Oh! is basically a feature-length promotion for the trading cards.

Ultimately, Dance is unable to connect the many threads of his rather flimsy script, leading to an abrupt and somewhat unsatisfying conclusion. But the journey is worth taking, thanks to the company of its stars.

When these proudly strutting dandies glide through a grimy basement as if they didn't have a care in the world, their joy is irresistible, and Ronde's point is made.

Though it was directed by Burr Steers, Charlie St. Cloud feels more like a misguided collaboration among Nicholas Sparks, M. Night Shyamalan and Billy Graham.

It's a little corny and somewhat overlong, but a sweet sensibility and stirring adventure scenes make The Water Horse: Legend of the Deep a welcome gift for anyone looking to keep kids entertained over the holidays.

Alfredson makes the most of every detail, carefully crafting an atmosphere of haunting alienation. These two lost souls may come together under unusual circumstances, but their connection feels universally human.

Unfortunately, Färberböck never gives us reason enough to sit through such unremitting punishment. Though the story is based in truth, an emotionally removed Hoss feels more like a symbol than an actual person, while her detached narration keeps us at further remove.

Unapologetically graphic and slightly marred by an artistic awkwardness, this is a rare and worthwhile glimpse into another nation's historical legend.

Three movies in one: a spaghetti Western, an urban drama and a historical epic. All of them suffer from self-indulgent direction, a convoluted script and awkward acting.

A thoroughly entertaining animated comedy that's sweet enough for the youngest moviegoers, and smart enough for the most cynical chaperone.

To her credit, director Martha Coolidge has crafted a fairy-tale ending that is both old-fashioned and newfangled, allowing her heroine to have it all. But despite a few magic moments, the rest of the film feels stale.

Deftly composed of many small moments, this gentle Israeli film skirts politics to portray a family that is blessedly normal in its internal chaos.

The affable Ice Cube is all that makes this forced, unfunny film watchable, and, frankly, it's hard watching him waste his efforts on a movie so woefully cynical.

An ongoing problem is the complete lack of chemistry between the leads.

Dano is a talented actor who needs to aim higher, and it should go without saying that Deschanel can do - and should know - better.

The performances save the movie from a treacly inevitability.

A few relevant themes do bubble up from this visually intriguing swamp of self-indulgence, but Arquette's pseudo-philosopher seems to speak for Almereyda when he says, "If there was a point, there wouldn't be a story."

Every woman falls for the wrong guy at least once in her life. This week, it's Betty Thomas' turn.

If any life story should make for a compelling biography, it's certainly Hugh Hefner's. Unfortunately, this love letter is so lacking in any edge, the end result is not just unsexy but unforgivably staid.

The movie eventually chokes on its own pretensions.

Though Argento and Aattou lack the searing chemistry needed, the social politics are consistently intriguing, and everything - not to mention everyone -looks absolutely stunning.

An appealing Deschanel does her best, but the pair is mismatched in every way, from age to attitude. The entire movie is hung on Carrey's shtick, so if you're a fan, you'll have a decent time.

The leaden bits do bring the proceedings to a screeching halt too many times, but the costumes are breathtaking, and the details (like color-coordinated martinis) are dazzling.

In a feat of truly impressive cinematic finesse, Hendricks manages to capture every possible angle, from below a soaring motorcycle to atop a speeding luger's helmet.

While the cast members, Dick and Prinze in particular, have fun with Robert Moreland's sassy script, the exaggerated, unappealing animation seems to belong to another movie altogether.

Come to think of it, 84 minutes isn't much of a sacrifice for a few laughs, even if the material is almost as hit-or-miss as our heroes' shooting skills.

Its crazy non sequiturs and anything-goes performances do lend it a certain cult appeal.

There's no denying that paparazzo Ron Galella is a New York character. What's at issue in Leon Gast's entertaining documentary is whether he's an artist or a creep.

This is a reasonable choice for bored tweens - as long as they don't demand too much magic from their movies.

While the whole cast -- including Dwayne (The Rock) Johnson -- is game, too much time was spent coordinating chase scenes and explosions, and too little fixing a slack script that relies on bathroom humor and snickering sex jokes.

Although we never feel any true connection to the enigmatic actress, there's no denying the inventiveness of Kon's homage to the possibilities of cinema.

Valentine's Day is sugary, sappy and totally predictable. It's also what a whole lot of women are likely to want.

There's nothing in director Ryan Piers Williams' script that elevates this film above others with similar themes. But his heartfelt approach can be seen in the committed cast -- led by O'Nan but also including ­Valderrama, whose quietly ­authentic work is a nice surprise.

Along the way, the movie documents a movement while deftly skewering a cynical media and ever-gullible public. So whether we're being had or just enlightened, Banksy's definitely found a new medium in which to create his own works of art.

It is an excruciating experience. But then, it would have to be. We're watching the distilled essence of war.

There is a great movie in Werner Herzog's Vietnam saga, Rescue Dawn. Unfortunately, it's about 30 minutes long.

How much control are you willing to cede when you see a movie? Because director Radu Mihaileanu is fiercely determined to manipulate your every emotion.

Alex Gibney's forceful documentary starts with a single tragedy: the torture of an Afghani prisoner at Bagram Air Base. By the time it's over, he's broadened his focus into a documentary so damning of the U.S. government, it's hard to believe he even got it made.

McAvoy is unerringly charming as Rory, a man who quickly discerns and dismisses well-meaning condescension. So one can't help wondering what he would think of this film, whose sentimentality comes across as smug.

Maggio and his stars find some unexpected truths in a familiar tale.

Even The Rock, who can usually be counted on to enliven any scenario, seems bored by the laughably feeble script.

A muddle of good intentions and bad direction, this amateurish road movie follows a young Brit across Europe as he reconnects with his Jewish roots.

Exploitation shamelessly posing as empowerment, Neema Barnette's self-congratulatory drama about women in prison promises to reveal shocking truths.

Fans are, obviously, most likely to appreciate the concert footage that's woven throughout the film. But the most powerful moments come offstage, when we see young audience members burn with the fresh outrage of the newly enlightened.

The best part of this proudly absurd experience is the music.

A disquieting, and somewhat disjointed, call to arms, Theodore Braun's heartfelt documentary is undeniably important. But it may not be quite focused enough to ignite the passion he so clearly wants his audience to feel.

Even with all the CGI effects, this darkly emotional movie feels like the anti-"Speed Racer." Sure, it's a big-budget spectacle. But it's also the kind of grandly old-fashioned entertainment we don't get enough of anymore.

Though Mann and Perry are game, it's Efron who carries the movie.

This is very much Brand's movie, with Hill playing a surprisingly subdued straight man. Still, the strong supporting cast - including Rose Byrne and Elisabeth Moss as the guys' girlfriends - easily holds its own.

The film is somewhat hampered by the refusal of the parents in two of the three families to participate in it. Though the children provide an eloquent, impassioned presence, their parents' absence is overwhelming.

Given that its predecessor hit bottom in the glorification of thug thrills, State Property 2 had nowhere to go but up. Yet, it doesn't.

This is an insider's tour - the uninitiated are, frankly, not likely to be converted.

Anyone who laments the loss of an older, grittier New York ought to adore this affectionate portrait of Greenwich Village restaurant owner Kenny Shopsin.

The Golden Age is packed with distractions. But the biggest of all is the story itself, which works so mightily to tarnish the queen at its core.

The movie doesn't even have novelty on its side, since we're basically watching the original "Final Destination" all over again, minus the smarts and humor.

Leoni and Kinnear are charming, and Koepp keeps the mood appropriately light. But really, this would be just another disposable comedy if it weren't for our unassuming star.

Day's primary mistake is an occasional attempt to get serious. With a deft comic touch and a topic that's still timely, he doesn't need to play it straight.

The buoyant McMillan is a charming presence, but he's entirely miscast as a character described as moody and angry.

All the full-blown wackiness turns a rather sweet movie into one that's decidedly overripe.

Smart, spiky comedy upends every traditional notion of love, sex and family.

Though he doesn't break any new documentary ground, Lee knows how to shoot his subjects. Their stories are moving, and their moves are thrilling.

You'd be hard-pressed to find a misfit loner as confident as Olive, who bears her considerable tortures with remarkable grace. But Stone is so funny, smart and sweet that we relate to her anyway.

Having written, co- directed and played the lead in this awkward, ego-driven memoir, Hayata has turned a genuinely compelling life story into an embarrassing vanity production.

Green's aggressively whimsical autobiography, which he narrates entirely in rhyme, will challenge all but the most open-minded audiences.