Sean Axmaker

A bland Bond.

Kahn manages to turn his feast of flesh, navel-gazing talk and self-destructive jealousy into a thoughtful reflection on the subject.

The attitude is older, maybe a tad sentimental, and as adolescent and reckless as ever. Whether that's a good thing depends on your appreciation for dead-end conversations, geek debates and the Smithspeak sandbox of creative vulgarity.

The lack of irony, let alone ambiguity, in an upside world in which mobsters are the underdogs, should sink the film, but Lumet's laid-back professionalism and Diesel's big-hearted performance give it an affable buoyancy.

With the story's vivid and passionate women and the power of emotional healing (not to mention the intense eroticism of his hothouse romance), gives Sex and Lucia a dynamic, vigorous life.

The film is thrown off balance by the weight of Norton's compassion for this troubled soul.

Surprisingly sweet and infectious.

If you're sick of the gross-out gags and sex jokes of contemporary teen comedy, this defiant blast of idiosyncratic individuality just could be your tonic.

Buscemi gets a fine performance from Miller and plays his part with a murky mix of self-pity, opportunism and arrogance. A few scenes crackle with their intensity. The rest of it wallows in glib acrimony and cynicism.

A bare outline of the plot reads like a space-adventure thriller with end-of-the-world stakes and a hint of celestial spirituality, and the haunted spaceship twist in the third act is pure B-movie madness.

An anti-war spectacle that uses the story of brothers divided by the 1950 civil war as a metaphor for the wounds of the split.

Jolie steals the film from nominal star McAvoy in the wild gunfight and dynamically absurd chase that kick Wanted into high gear. Her wicked moves and seductive smirk brand her immediately as a true believer who really, really loves her work.

An inspired melding of action thriller, satire and biographical drama through the looking glass of a funhouse mirror.

The stripped-down dramatic constructs, austere imagery and abstract characters are equal parts poetry and politics, obvious at times but evocative and heartfelt.

The official R rating is for "strong language, sexual content, drug use and some crude humor," but the MPAA is just being polite. It's all crude.

It's all about Guevara's education as a revolutionary and his development as a leader in the jungles and in battle.

It's a tricky tonal dance that Watt, minor missteps aside, glides through with feeling.

At its best when it remains with the women, and Marshall draws marvelous performances from all.

If Arlyck's own life feels unworthy of the attention, Sean's illuminating, unconventional and contemporary story makes up for it.

The film's greatest triumph, at least on a technical level, is the amazing texture of the water, which has never looked so dramatic or convincing in an animated film.

When (Tykwer) connects it's exhilarating and gorgeous, a sight to behold.

It's a reductive moral to a story full of fascinating contradictions, but Bailey and Barbato draw a convincing line between the social and political atmosphere of the film and the culture wars of today. The issues are still very much alive.

Yedaya is respectful and sensitive of everyone in Or's life and creates a beautiful, complex and rich relationship between mother and daughter, loving and protective of each other, but not of themselves.

Charged with raucous energy and a satirical slant, this witty history lesson is preaching to the converted, sharing a knowing wink with everyone who's ever inhaled.

A deliciously vivid adventure fantasy.

One of the most hilarious and engaging films from producer Judd Apatow's often inconsistent comedy factory, thanks to inspired dialogue, dynamite chemistry between Rogen and Franco and perfectly pitched stoner gags (undoubtedly the result of copious research).

An old-fashioned Western with all the classic elements -- buddy loyalty, stalwart heroes, despicable villains, plenty of gunfights and marvelous wind-scoured desert landscapes -- marked by some modern ideas about relationships.

Erin Gruwell (Hilary Swank) is real, and for all the dramatic license that writer/director Richard LaGravenese takes in his film, her story -- and the stories of her students -- are moving.