Jennie Punter

The disturbing thing in this preposterous piece of family fluff from writer-director Steve Oedekerk (Ace Ventura: When Nature Calls, the Oscar-nominated Jimmy Neutron: Boy Genius) is the sight of bulls with udders.

Creepy, cool and loaded with style.

An unforgettable portrayal of the unglamorous gangster life, which is often short and never sweet.

Authentic, fresh and utterly relevant.

As confusing, horrific and unsettling as a nightmare can be, at least you wake up and the memory fades. Darwin's Nightmare, tragically, is not a dream, but rather a haunting, beautifully made reality check well worth waking up to.

Features an excellent cast, in particular the child actors. These elements, as well as the director's light unsentimental touch, make the struggles and triumphs in Small Voices ring truthful.

Riveting and courageous documentary.

It's an exquisite, humanistic and subtly topical work of cinema art that manages to keep the intimate, revelatory sensibility of a one-man play intact while fleshing out the characters and creating a very realistic and richly detailed school community.

Shamelessly cross-promotional "extreme" sports flick.

Relentless, thorough and devastating.

It's kind of fun but the twists and turns are all too familiar.

My Summer of Love may sound like the title of a hot teen flick, but it is a truly refreshing grown-up big-screen film, a rare gem in this summer of duds.

Unlike "Microcosmos" (all insects) and the acclaimed nature doc "Winged Migration" (all birds), Genesis is bogged down by its intentions and too vast a "cast."

Turns out to be one of the most compelling, finely orchestrated and oddly enchanting films of the year so far.

Presented the usual way, the film would be enchanting. In 3-D, however, Coraline is completely engrossing. Selick uses the technique brilliantly to enhance the comedy and horror that mingle in his more "family-friendly" version of Gaiman's dark story.

At two hours, After the Wedding stretches out family flux too thinly and waits too long to reveal the final, devastating secret that we already know.

Swords cross, blood spurts and bosoms heave in The Princess of Montpensier, French director Bertrand Tavernier's thoroughly ravishing drama.

Its rhythm is deliberate and unhurried, yet the film is rich with detail and with small, meaningful character revelations -- the running time of more than two hours feels just right.

Just as the book is usually better than the film, one suspects the video game is probably more entertaining and coherent than the movie. In the case of Alone in the Dark, this is a certainty.

Like its predecessors, Under the Sea is family-friendly viewing -- the great white shark swims by, as opposed to tearing prey to shreds. Its goal is to show biodiversity and offer information on how reefs grow, reminding us of threats to these environments.

Thrilling and beautifully crafted.

An unabashed crowd-pleaser.

Ever so subtly, Schock gradually transports us beyond the exotic and into gripping universal storytelling, aided all the way by the evocative music of Tucson songsmiths Calexico.

A combination of timing, access, a visual aesthetic that reflects ATCQ's Afrocentric "surface philosophy" (as the crew's look is described) and, most importantly, story-conscious editing elevates the doc above the norm.

While the newer version's darker ending lends a more contemporary twist, overall 3:10 to Yuma is reverent to the original – a few more bullets and more spilled blood notwithstanding.

One of the most irresistible films of the year so far.

Speaking of moves, A Better Life is an interesting one for Weitz, who produced "American Pie" and directed "The Golden Compass" and, ahem, "The Twilight Saga: New Moon." Whatever the reason (his grandmother was a Mexican movie actress), this film feels more personal that just a gig.

They really pulled out all the stops on this one.

Stacked against this summer's CGI-driven blockbusters, Attack the Block is definitely the fastest action ride (clocking under 90 minutes), and quite possibly the most fun.

Propelled by a perfectly cast trio of stars whose eccentricities shine in singular character roles, Bernie is a charmer.

Gets under your skin as another thought-provoking wake-up call about the power of studios and the corporations that back them.

Humpday is mostly foreplay. But isn't that usually the most fun anyway? It certainly is in this film.

While this may all sound seductively warped to those who enjoy movies featuring sexually deviant confinement and torture, blasphemous rants and rampaging rednecks, The Devil's Rejects does not live up to its sick, twisted and campy intentions. "Straw Dogs" meets "Smokey And The Bandit" for the new millennium it ain't.

Unfortunately, despite a committed and lively performance, McAvoy's Scottish doctor is fictional, an amalgam of Amin's "white monkeys."

It may be a slim story, but its gentle humour, natural rhythm and above all authentic performances make Tomboy beautiful, intimate cinema.

Both a cathartic and a creative family entertainment.

Running more than two hours – a very long time for an adaptation of a book without a plot – Eat Pray Love is like an overstuffed lightweight suitcase, with little room for us to feel the emotional connections Liz makes with new friends along the way.

The movies have given us plenty of loquacious teenagers – from such fast-talking truants as Ferris Bueller to such overachieving political animals as Tracy Flick ( Election). Hal Hefner is not one of these kids.

Designed to please all generations of irreverent humour-lovers, The Pirates! Band of Misfits may not be heart-warming (it is about nasty, scurvy pirates!) but it's breezy rollicking fun.

The summer's most lip-smacking movie treat.

Mann (Comic Book Confidential) plays with archive, animation and music (hot soundtrack by the Sadies), illuminating another worthy counter-culture corner. Pure fun, fun, fun.

Lanthumos's accomplished and fascinating Dogtooth pushes the notion of parents screwing up their kids into seriously disturbing and darkly comic terrain.

Glodell never lets his creation spin out of control. Bellflower revs the engine of an exciting new maverick.

What elevates Foy's impressive first feature (he also served as editor and composer of the dark, whimsical score) above, say, your average "unsolved mystery" TV episode, is the emotional connection he gradually builds between Duerr and the elusive creator of the Toynbee tiles.

Even in a season of apocalyptic films, these facts are really, really scary.

A taut, gorgeously filmed and enjoyably wicked cinematic treat.

While Mesrine: Killer Instinct certainly deserves a place among memorable French gangster films, Richet never delivers a clear theme here, let alone a plot.

Paine does offer something of a heroine in Chelsea Sexton; the attractive EV1 sales specialist was laid off in 2001, became an EV1 activist and is now executive director of Plug In America.

Certainly a bizarre kind of virtuoso filmmaking, but it does not feel precocious or burdened with too many ideas.

Surreal and hilarious.

Both Speedman and Tyler deliver solid, nuanced performances as a couple caught at the most fragile moment in their relationship.

Given Paine's penchant for B-movie-sounding titles, let's hope he gets to make it a trilogy that concludes with The Electric Car Lives!

This film offers a child's perspective on the ravages and complexity of war and is also a convincing testament to the healing power of creative expression.

A sprawling personal journey, filled with an array of fascinating characters, through the world of wine.

Although she lets her flair for creating funny, sharply written, quirky scenes consume her feature directorial debut, her use of family, friends and even an ex (Goldberg) in 2 Days In Paris, gives the film a wonderfully natural, comfy feel.

An unholy mess.

Is there any doubt Evans' Captain America will do exactly what the character created 70 years ago by Joe Simon and Jack Kirby did in the comics – kick Nazi butt? The real surprise will come next year, when we get to see how the super-square Captain adapts to 21st-century life.

While the visuals aren't nearly as eye-popping as those of the underwater movies, the film is more inspiring thanks to its human heroines.

A raunchy, fast-paced comedy that, nevertheless, is as flat as the tires on the old Volvo gathering dust in my garage.

While The Vow will give heart palpitations to fans of its charming co-stars Rachel McAdams and Channing Tatum, this amnesia-themed romance is the kind of featherweight fare that is enjoyed in the moment and forgotten soon after the end credits roll.

Lack of sparkling teen chatter prevent this movie from being a slam dunk.

Puss in Boots is essentially non-stop dazzling action scenes loosely connected by a thin, predictable story of greed versus good.

More heart-breaking and action-packed than one imagines from a monastery travelogue film.

It may not be a pretty picture, but A Tale of Two Sisters is definitely a satisfying piece of less-is-more cinematic horror.

For all its action thrills, Salt is relatively humourless fare.

With its comic-book hues, crime-caper score, overly serious narrator, interior monologues and surreal touches, Wild Grass proves Resnais is still having fun with cinematic language.

A British flick based on the first novel in a popular teenage spy-thriller series by Anthony Horowitz, looks promising but, unfortunately, doesn't measure up.

Traitor becomes too busy, ultimately frustrating, and never delivers on its tantalizing promise of offering a little insight into terrorists' motives – and it's even got an inside man.

With young audiences definitely in mind, the film puts a fresh spin on the issues and struggles of the civil-rights movement.

Delivered without irony or subtext but lots of gentle humour, a kind of family fare that is rare on the big screen these days.

At two hours, Eight Below becomes rather repetitive and arduous in its final stretch, the rescue mission. But the canine cuteness, breathtaking action and acts of bravery are worth braving the Disney elements -- overpowering, poignant music, an unnecessary romantic subplot -- if you like your movies doggy-style.

Plays it a little too safe and hackneyed with the comedy, but the characters and the talented actors who play them are a refreshing change of pace that make the movie feel like a minor buddy-comedy revolution.

Icy landscapes, the cozy tones of Queen Latifah and a walrus-farting scene that rivals the campfire bean-fuelled explosions of "Blazing Saddles" help make Arctic Tale, a new wildlife documentary, a fun family indoor excursion.

It's a film that will both captivate and divide audiences.

There is nothing dry about Last Call at the Oasis, Jessica Yu's engaging, informative and fast-flowing documentary exploring the global water crisis.

An ambitious, if uneven, experimental sci-fi romance that is less a thought-provoker than a dazzling juggling act.

With Monsters, Edwards transcends the special-effects auteur label, creating a memorable sci-fi story in which the hero and heroine are true equals in the adventure. How's that for an alien concept?

Comes close to collapsing under the weight of drawn-out scenes and an earnest story that piles on minor themes and subplots, but the energy and visual kick of the band numbers saves the day.

A creepy, smartly written and very entertaining low-budget chiller.

Essentially a slapstick movie with no plot or -- as my boyfriend called it after recovering from 1½ hours of side-splitting laughter -- "the ultimate big-screen TV experience."

Despite its title, the movie admirably sticks to its game plan of ennobling the everyman as opposed to turning Papale into some kind of Superman.

A late summer treat. And in case you are wondering, yes, there is mumbling.

For the most part he (Haney) lets the people and images of Coal River Valley speak for themselves – and that's what gives The Last Mountain its eloquent power.

El Bulli barely registers a pulse stronger than a book's. There is no narration, there are no interviews and forget about any apron-ripping drama, as presented nightly on the Food Network.

Jam-packed but never disorienting, Cool It will definitely get your head spinning.

May be a slight film, but watching the Dames work in harmony in beautiful nuanced performances is a rich and fully satisfying reward.

The clever lines and themes of friendship and finding home are almost completely overwhelmed here by the breathless pace and sensory overload.

A great-looking, fast-paced film and, to his credit, Bouchareb doesn't bathe the F.L.N. in a completely flattering light. But narrowing the focus to one central conflicted character and tightening the time frame might have given the audience something more to ponder than the action of a historical revenge thriller.

Essentially a journey from point A to point B, a simple classic plotline on which to hang a collection of set pieces -- some delightful, some wacky, some tediously hackneyed.

There is also a parallel subplot following the fate of two Ukrainian girls caught in the sex-slave ring Kathy targets. This storyline isn't dramatically satisfying, but it does provide context and ensures the victims in this story are not portrayed simply as faces in the dark.

Certainly not a stinker. Yet despite its squeaky-clean appearance, this family flick has a pervasive and decidedly stale aroma.

The Wicker Man is one of those "what were they thinking?" movies.

While dance sequences are not particularly well edited compared to the new breed of dance flick, Wormald and Hough are exciting hoofers to watch.

In the end, F*CK is at most a compendium of opinions and examples, and never feels like a story. Still, great casting and inventive visuals make it an entertaining big-screen experience -- and don't expect to catch it later on network television (otherwise it would have to be retitled BL**P).

What makes The Grand a memorable comedy is that the main stories are really about families – how they screw you up and how they save you. And you don't have to understand poker to know the rules of that game.

Everything's Gone Green is the second feature directed by Paul Fox (The Dark Hours), who maintains an energetic, lighthearted tone throughout the film, even when the story loses focus at its not-quite-satisfying ending.

While Tom Tykwer's lavish and lively screen adaptation of Perfume: The Story of a Murderer is certainly not a stinker, there is something decidedly off about it.

Were it not for the fine engaging performances of both Dancy and Byrne, Adam would be sickly sweet.