Marc Mohan

Delivers the expected thrills and groans.

Sayles has always had a gift for female characters, and Go for Sisters features a couple of good ones.

The weirdly earnest literalism of Besson's story is a weak point. His desire to make Angela satisfy both sides of the Madonna-whore complex is too blatant.

There are laughs to be found, as unfiltered improvisations on subjects such as Viagra, home electronics, pot cookies and the end of "Lost" come fast and furious.

The actions of both these vilified parties are so seemingly irrational that you're left feeling there must be some explanation, one that director Todd Douglas Miller either couldn't or wouldn't ferret out.

As a hypothetical, all-access documentary about the kookiest day in draft history, it's oddly satisfying, maybe because watching the actual, bloated spectacle (scheduled this year for May 8) is so often underwhelming.

Christensen, who played the James Bond villain Mr. White in "Casino Royale" and "Quantum of Solace," cuts a striking, white-haired figure as Segerstedt, whose principled tirades against Hitler ultimately earn him the enmity of his prime minster and even his king.

Paper Heart isn't the most cloying instance of earnest indie quirk to emerge in the past few months, nor is it the most charming, but the mere fact that such a continuum exists is reason enough to worry.

While In Bloom offers an authentic slice of life from a particular time and place, it never gets close enough to its characters, physically or emotionally, to really hit home.

The ensuing love triangle culminates in a frankly loopy finale that tarnishes the film's earlier insights and ensures that it will be only remembered for some hot and heavy bedroom scenes.

In trying to make Kalmen's story unique, the film inadvertently exposes him as the most typical sufferer of midlife crises you could imagine.

The line between fearlessness and idiocy can be a thin one, especially in this sport, and the doc never gets too far under Way's skin. But when he soars -- on a skateboard! -- above the massive structure that kept invading armies at bay for centuries, it's pretty darn cool.

The one unforgivable crime committed in this remake is the lack of the original's most famous line of dialogue: "Klaatu barada nikto." Would it have been so tough to squeeze that in somewhere?

Charles Grodin, in his first film in a dozen years, provides some of the best moments as Sofia's dad, while Mia Farrow is kind of creepy as her mom.

Though its characters aren't terribly complex, and its plot holds few surprises, the screenplay (in English, German, and Hebrew) amounts to a worthy treatise on the need to forgo revenge.

Israeli society is one that has ample experience processing grief, and Nina's Tragedies explores that challenge with humanity and humor.

There's fun to be had in the re-creation of indelible screen moments, including several with Scarlett Johansson as Janet Leigh and James D'Arcy as Anthony Perkins.

There's much to admire here, but less to like.

The East never goes as deep undercover as it should.

Overall, there's a patchwork quality to the movie, as if a batch of half-finished short stories were filmed before their time.

The quality that made her an ideal fan club president makes her an endearing, if unenlightening, interviewee.

A misfire, but a misfire from von Trier is still more interesting than a blandly successful Hollywood product.

It’s disappointing that, with such talent and seriousness of intent, the movie ultimately doesn't have much new to say. To paraphrase “The Simpsons”’ Milhouse, it started out like "Bonnie and Clyde," but instead it ended in tragedy.

The performances are solid and subtle, with Depardieu growing nicely into the brooding, smarter-than-he-looks roles his father tackled for years.

Someone should send him (Kerry) a copy, if only to remind the senator of the days when he was willing and able to speak with the courage of his convictions, and when he had a lot less to lose.

More convincing are the performances from Jenkins and Allison Janney, as another of Jesse's old profs. Both these pros bring more depth to their supporting characters than either of the promising, but, alas, young, leads do to theirs.

Like Someone in Love meanders with intention toward a bittersweet resolution, but then pulls the rug out from under you in a cruelly ambiguous shot.

The environment is one of unrelenting cruelty and misanthropy, which certainly brings out the novel's darker themes, but can be something of a slog to watch.