Pam Grady

What this predictable tale lacks in surprises it more than makes up for in charm, good music and the indelible performances of Alessandro Nivola and Abigail Breslin as father and child.

Shannon makes the man's dilemma plain and moving, and that gives Take Shelter a resonance that last long after the final fade out.

An investigation into Pieter Bruegel the Elder's painting "The Way to Calvary," Majewski's film is a stunning piece of art in its own right.

Control's Sam Riley steps into a role made unforgettable by a young Richard Attenborough in the 1947 original and makes it his own, slipping into the character like a second skin.

This is Rudd's movie and he once more displays an unerring eye for comedy. He comes at it from an actor's perspective rather than a comedian's and it shows as his character as hilarious as he is credible.

In keeping with the flamboyant clan of despots that were the Husseins, the drama is ultraviolent and over the top and made absolutely mesmerizing by Dominic Cooper's electrifying turn in both roles.

Cornish's idiomatic dialogue is hilarious and the longtime comic's sense of timing is perfect.

It is a dark drama to be sure and it does carry with it a whiff of disease-of-the-week melodrama, yet there is also transcendence in the tale; as bleak as the film is, it is not without hope.

A lawman seeking redemption can't seem to escape sin in Ed Gass-Donnelly's haunting, rural drama.

As entertaining as it is educational.

Stake Land is the movie "The Road" should have been.

Making the Boys is at once political and personal. It is a history lesson, a sociological study and a memoir. It is a tale told with warmth and humor. And it is irresistible.

The documentary will resonate with New York Times' readers and fans of personal stories.

A film with a big heart; it's an eccentric dramedy and a crowd pleaser.

With the stranger in a strange land motif, the movie plays a little bit like the 2007 Israeli dramedy "The Band's Visit" and Liev Shreiber's "Everything Is Illuminated" rolled into one.

Plenty of people die in I Saw the Devil, but it is that first attack on Ju-yeon in the movie's opening minutes that reverberates through the epic 141-minute running time.

Wonderfully animated, witty and wildly imaginative.

The action, fantasy and suspense elements are all highly enjoyable, but if the romance didn't work this movie would fall apart.

Stylish and funny.

Monsters is enormously satisfying in the way it combines suspense, romance and sci-fi. It heralds a bright new talent in Edwards. If he can do all this for no money, imagine what he can do with a real budget.

The film might have ended at its action-packed and ultimately moving climax, but screenwriter Steve Kloves goes one step farther. He finds the perfect cliffhanger, one that emphasizes just how dangerous young Mr. Potter's situation really is and definitely leaves the audience anxious for the next chapter.

This intelligent, emotional drama should resonate strongly with fans of character-driven stories and those interested in tales of American political struggle.

Sensual and romantic with a heavy dose of the supernatural and populated by indelible characters.

Leyser has done his job with this, his first feature, burnishing Burroughs' legend and making manifest the enormous shadow he still casts over writers and artists of all stripe.

While the film is likely to find outright rejection among those who remain jittery with each turn in the War Against Terror, it should find a warm reception with fans of dark, outrageous humor.

That tension between silly comedy and poignant drama could have been dicey, but Stebbings and Harrelson maintain just the right balance between the two.

There are gaps here and there, but it provides a fascinating introduction to a corner of film history that has gotten too little attention.

The drama boasts a stellar cast, exquisite performances and a tense atmosphere. It is a film that the author's fans and lovers of mature, measured storytelling will embrace.