Paula Nechak

In the end, it trivializes the psychological complexity of the girl's post-traumatic stress and betrays a game group of actors who struggle to find balance between the alternately dark drama and the silly, over-the-top melodrama.

Tinged with sadness, and despite overstaying its welcome a wee bit, remains an anthem of insurrection, melding its political and humanistic truths into an almost dreamily subversive film tinged with humor and some small hope.

The most fascinating aspect of the film is how the point of view shifts -- each character, as seen through another's eyes, is something else entirely.

If ever a film seemed poised to take over the spot occupied by the surprise indie hit, "My Big Fat Greek Wedding," it's Real Women Have Curves.

Funny for 15 minutes and then fades into mean-spirited cruelty and stupidity.

tTere are two things going for Melinda and Melinda: Woody's not in it and Radha Mitchell is.

A mess of incohesiveness and fragmented storytelling.

The film dwells more on the sensationalistic aspects than the sport itself but it's impossible to deny the tawdry entertainment value in this compelling film tabloid.

Craig's got the stuff but the ending of this cake is soggy for its protagonist and audience.

Meanders as aimlessly as its drugged-out characters.

First-time feature film director Max Farberbock has given a terrific visual style, resonance, sense of hope and power to the material.

Wanders off on story tangents that can't be called anything other than bizarre, but nevertheless oddly engages.

It's a methodical, friendly fairy tale in which everyone is good and the outcome is a given.

There is a ton of psychology and inference in this intriguing first feature by French director Anne-Sophie Birot.

There are some nice ideas floating around this ambitious film, as well as attempts to say them in a unique way.

The film is so well acted -- by Byrne, who makes Harry's internalized agonies and continuously carried torch for his ex-wife touching, and by Watson and Hoult -- that its more cloying moments, including a staged version of the musical "Camelot" (which is too long), are a moot point.

Exquisite and fragile in visuals and tone, yet has some difficulty with a choppy narrative.

Ok, I admit at first I was just laughing at the sheer gutsiness of South Park creators Trey Parker and Matt Stone. But after 10 minutes, I was laughing at the script.

Sandler and Watson make something out of their underwritten roles, and that they do is testament to their talents: They make this punchy romantic comedy more engaging than it should be.

Unremarkable sequel to the 1967 hit.

Difficult to weigh and rate precisely because it deals with real life and real people.

Disney seems intent upon overdosing audiences with the little guy proving himself against a seemingly superior force.

Daniels gives a career-best performance.

The lapses in logic make a weak subplot about a serial killer on the loose just plain silly instead of provocative.

Works well as a metaphor for a more innocent time.

Unfortunately, the life has been sucked out of DiCamillo's story about a brave, unusual little mouse.

Shakespeare's comical, all-too-human tale of lust, foreplay and wordplay is buried beneath bad taste.

If you're a fan of Maddin's expressionist style, you'll find the humor within. Everyone else will be scratching their heads, despite Maddin's extraordinary visual imagination.