Kirk Honeycutt

How To Live Forever is less about how to delay or defeat death than a film about what gives life meaning.

Poirier is a master at dialogue. His script crackles with sharp lines and he gives all his scenes a splendid comic undertow.

Lights will put in more appearances at festivals before achieving a brief theatrical window for Kaurismaki devotees to gaze through. Most will do so with discouragement.

Successfully surmounts nearly all the challenges of making a film about a young person dying. Which means the writer-director avoids pitfalls. It is not cloying or sentimental or falsely optimistic. It avoids bathos and exaggerated emotions. Instead, the film affirms life in surprising and gratifying ways.

Well, that didn't take long. Everything fun and terrific about "Iron Man," a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines.

The 134-minute film jams in much information, incidents and characters without losing any entertainment value. And, fortunately, its heroism isn't pumped up or glorified.

The two actors are solid, never overplaying scenes and capturing well that slow realization that their lives are never going to be the same.

"Dream" brings together so much history, sheer adventure and terrifying moments.

It merely recycles 1987's "Broadcast News" with only a single reference to YouTube.

Not hurting matters for foreign and Indian film devotees, the film features two icons of Indian cinema, Madhur Jaffrey and Naseeruddin Shah.

Imagine Paddy Chayefsky's "Marty" saddled with more sentimentality and sprinkled with a few more laughs and you pretty much have Last Chance Harvey.

The lameness of the gags and dialogue and the film's frequent deep dives for the bottom at the expense of real comedy speak to desperation in Hollywood to figure out the audience for contemporary naughty comedy.

Films about serial killers have become so ubiquitous that they now form a subgenre of the crime movie. Even so, Antibodies, has a bracingly original take on the matter.

In a summer of remakes, sequels and movies swollen with effects, The Terminal stands out as a strikingly original comedy.

Fascinating and absorbing tale.

What Meyers doesn't do is take chances. She sticks to formula and predictability. In "Complicated," this is as much a matter of casting as writing.