Kirk Honeycutt

It has enough laughs, character arcs, politically incorrect rants and a satisfying emotional ending to more than justify this whim on Smith's part.

Director Tom Hooper ("John Adams") ably balances the games (surprisingly little football footage, actually), the personalities and the drama.

As enjoyable as this foodie movie is, you wish it would take a deeper, more nuanced measure of the women who, in two different eras, star in the movie's kitchens.

There are so many guilty pleasures here that it's amazing the film is as good as it is. The passions feel real, the roles are fully inhabited and the art speaks for itself.

There is no room for subtlety. Aiming a rude, foul-mouthed political satire everywhere -- left, right and center -- Trey Parker and Matt Stone blow up a good deal of the world, not to mention the egos of many Hollywood personalities

It skips merrily along the surface with its over-the-top vignettes but never seems to arrive at a destination. Nevertheless, the journey is more than half the fun as every actor attacks his role with relish.

For anyone with a keen interest in this unique American musical form, Rejoice and Shout is a must-see and see-again.

There is a nice mix of action with tender moments -- especially among the misfit monsters

Weitz gives all his actors room to shine.

Utterly charming and not without those subtle insights into character and culture that mark their (Merchant Ivory) best films.

Fascinating and absorbing tale.

The Matador gets a 151-proof tequila shot of sharp comedy from the droll byplay between Pierce Brosnan and Greg Kinnear.

An involving sci-fi action-thriller, probably longer on chase sequences than the original director wanted and shorter on the "ick" factor than the studio wanted.

You could point a camera just about anywhere at Comic-Con and record something weird, amazing, funny, stupid or all of the above.

Before it disappears into a fog of confusion and damaging contradictions within its characters, The Dying Gaul presents an ironic, provocative look at what its creator, Craig Lucas, calls a postmodern Hollywood noir.

It's not much of a movie, but a hell of a ride. So what if the movie dumbs down Japanese culture to a bad yakuza movie and features Japanese characters who can barely speak Japanese? The cars are the stars here. Everything else is lost in translation.

It's undeniably fascinating, but you might want to take a shower after hanging out with this unsavory bunch.

The most alarming cautionary tale for men with wandering libidos since "Fatal Attraction." It may also be the first horror movie that women drag men to see rather than the reverse.

It may not be as much fun as old spy movies starring Cary Grant or more recent entertainments such as "Spy Game," directed by Ridley's brother Tony, but it feels all too accurate.

This is a performance without the histrionics and emotional outbursts that accompany most portrayals of addiction. This feels closer to the truth.

The richness of the characters and themes in Nearing Grace inspire director Rick Rosenthal and his cast to create a film with terrific emotional energy and larkish humor.

If you liked the play and the compelling ideas Bennett kicks around, the movie makes for an intellectually invigorating couple of hours.

Emily Blunt, one of the best and most glamorous actresses to come out of England in recent years, makes an unusual but highly successful choice for the young Victoria.

The thing that shines through most clearly, though, is Lennon himself. His widow allowed unprecedented access to the family archives, which along with ample newsreel footage bring us his presence once again.

It's a cracking good detective yarn with hints of "Chinatown" and Raymond Chandler, and it's a sharp political lampoon of things we're all reading about on today's front pages.

The movie is gag-filled, as you would expect of a Sandler movie, but the filmmakers realize they have hit upon an idea that is both clever and good, so they edge their comedy into some darker areas of human behavior.

Provocative and perceptive.

The two key roles are wonderfully cast with Owen Wilson and Vince Vaughn and the gross-but-not-too-gross humor will score with young moviegoers. But Wedding Crashers is still a letdown. The film never quite lives up to the promise of its premise.