Kirk Honeycutt

Good Neighbors is a film of acquired taste. If one is willing to accept humor in a movie about a serial killer, if one likes a thriller than emphasizes character over thrills, if one is susceptible to a cast of characters that includes three cats, then the movie has found its very selective target audience.

Director Jean-Francois Richet shows a career in crime with pulse-pounding moments of pure cinema, then lets you decide what to make of this homicidal sociopath.

The loggerhead turtle's journey is indeed incredible. But you would rather the narration, delivered intelligently by Miranda Richardson, didn't feel a need to remind you of this fact so frequently.

A "soft" epic, a film touching on childhood fantasies with sturdy, unwavering characters driven to evil or good. More "Harry Potter," in other words, than "Beowulf."

For a man apparently making his first film, Woolard carries the movie like a pro. Cross your fingers that this is no fluke, for this guy could be a real comer.

A high-wire act that almost slips as it edges perilously closer and closer to the edge of improbability. But it never does.

Director Robert Zemeckis not only deploys 21st century movie technology at its finest to turn the heroic poem into a vibrant, nerve-tingling piece of pop culture, but his film actually makes sense of Beowulf. In Zemeckis' hands, it's an intriguing look at a hero as a flawed human being.

A thoughtful and reflective love story about the impact of time on true love.

If you're going to make a weepy, there's no reason you can't make it with intelligence and insight as the makers of My Sister's Keeper have done.

Women will love this, and men won't mind the eye candy either, so it looks like this Screen Gems release can't help becoming a hit.

A real audience pleaser, so long as that audience is mentally agile and adult, for it comes at you from odd angles and features three distinct story lines and 10 main characters.

His heart -- and musical soul -- is in the right place, but the film makes you at times uncomfortable with black and Southern stereotypes that may hinder some from fully enjoying an otherwise benign and cheerful tall tale of the Saturday night when rock came to rural Alabama.

Arguably Eastwood's most ambitious film since his multi-Oscar winner, "Unforgiven." But it lacks the power and depth of that film's dynamic script by David Webb Peoples.

Stripped for action without a moment wasted on unnecessary dialogue, exposition or nuances.

A sprightly musical revue built around Cole Porter songs and a few biographical tidbits culled from his extraordinary life.

Documentaries have been coming down on humanity so hard in recent years -- from "An Inconvenient Truth" to the latest Oscar winner, "Inside Job" -- that it's refreshing to bask in a bit of optimism coming from a nonfictional film.

The film is unusual in that it is a co-production with the Chinese. Whatever difficulties this imposed on the Western filmmakers, the reward is a period film that feel authentic to its time and place.

Joel and Ethan Coen clearly are in a prankish mood, knocking out a minor piece of silliness with all the trappings of an A-list studio movie.

Zokkomon gives Indian youngsters not only their first super hero but, even more tantalizing, he is a young boy "terrorizing" susceptible adults in a small village to the increasingly delight of the town's children.

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

Could develop a cult following. But it is hard to envision repeat viewings or any great number of people willing, even vicariously, to undergo the couple's ordeal.

This is a minor film from a master, which is disappointing, but nevertheless it has its charms, most notably in the acting by a cast of stage and screen veterans.

Hopkins' performance flat-out works.

Hoffman emerges as a confident film director with visual flair and, no surprise, a remarkable ability to maximize his fellow actors' work.

Edward Burns' best riff yet on guys trying to sort out their feelings about women.

The issue of sexual politics so dominates the story that it's a relief when an emotional showdown involves family rather than workplace issues. Not so surprisingly, these are the movie's best scenes.