Megan Lehmann

De Villa has created a truthful representation of a colorful community.

Much of the movie's gentle charm comes from Mehta, the director's younger brother, making his acting debut.

A cheaply made, occasionally repetitive, but passionately argued documentary.

Very funny. It's also heartbreakingly sad.

Has just enough fairy dust to charm its target audience.

A documentary mosaic of kooky Americana.

Disaster movies, from "The Poseidon Adventure" to "Towering Inferno," are impossible to take seriously and "Day" is no exception - it's simply a fast-moving pageant of end-of-the-world eye candy.

It's all entertaining enough, but don't look for any hefty anti-establishment message in what is essentially a whip-crack of a buddy movie that ends with a whimper.

Less of a "You go, girl" manifesto than its title would suggest.

Occasionally stagy and flat, "Die" is worth seeing for Busch's grand performance, which won him a Special Jury Prize at this year's Sundance Film Festival.

The problem lies with the paucity of sizzle between the romantic leads, Renée Zellweger and Ewan McGregor. They just don't look like they're having any fun together, particularly the bony Zellweger, who has trouble filling out the wow-worthy ensembles and perpetually looks like she's sucking on a lemon.

Instructive, cathartic or just too painful? You decide.

Delivers one of those classic movie moments in which two screen legends go toe to toe, both barrels metaphorically blazing.

If you can overlook its TV-episode look, occasional lapses in logic and detours into lurid overkill, this old-school psychological thriller, which marries a tracking-the-serial-killer narrative with occult themes, is a creepy diversion.

Corcuera's unflinching documentary Back of the World is a real-life horror story told in three parts.

Wants to be an epic in the mold of "Saving Private Ryan," but it's hindered by its modest budget.

Pray will force you to look at the music as more than just gobbledygook created by musical-bower birds who can't spell.

Nair makes Vanity Fair an elegant showcase for an unforgettable heroine.

Apart from some irritating and redundant camera tricks early on in the film, director Blair Treu plays it white-bread straight, delivering an uncommonly inoffensive, after-school-special-style teen flick.

The film is ultimately a one-man show -- and when that man is the singularly crafty Depp, it's hard to look away.

A compelling look at a vexa tious question, Taking Sides is, at times, hamstrung by its own ambiguity.

Smarter than your average serial-killer movie, thanks to unusually fleshed-out characters inhabited by a high- pedigree cast.

Just Brit filmmaker Shane Meadows having some fun with the conventions of the spaghetti western.

The plot is thin as consomme, and the thudding score is distracting, but the heartfelt storytelling and Michael Bertl's disarming cinematography make this a food film to savor.

When the Powerpuff Girls blink those soulful dinner-plate peepers, you could forgive them anything - even their movie's wafer-thin excuse for a plot.

Walking a tightrope between high farce and emotional truth, writer-director Gabriele Muccino's breathlessly paced Italian comedy The Last Kiss manages to stay just this side of melodrama.

The concert footage is stirring, the recording sessions are intriguing, and -- on the way to striking a blow for artistic integrity -- this quality band may pick up new admirers.

Winterbottom's bold film, its gritty visuals offset by Dario Marianelli's lavish score, makes real the desperate lengths that refugees -- those running from poverty as well as dange -- will go to.