Sean Axmaker

Romero's satire is largely replaced by a sardonic gallows humor (the zombie-shooting contest is as funny as it is grotesque), but otherwise it's a bloody entertaining zombie apocalypse.

The film attempts to put Zizek's philosophy into practical, accessible terms. Accessible, of course, being a relative term.

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

The live camel birth (shown in all of its excruciating beauty) is enthralling, and the cultural details, however staged, provide a vivid window into a world that is fast disappearing.

The colorful cultural history lesson in an idiosyncratic key is entertaining and informative, if a little indulgent in its adoration of Roth and his counter-car culture.

Garcia's dialogue is wonderfully crafted, short, sharp and resonant, and her elegant direction is delicate and handsome.

Behind the dry humor is a sense of hollowness in the two men who obliviously fall back into old patterns of reckless, loveless sex without missing a beat.

This is full of talk in the European art cinema tradition: intellectual conversations (often in multiple languages at once), gentile dinner conversation with an international all-star guest list.

Haggis drops exclamation points after his symbolic gestures, but in the rush to drive home his message on the confused mission in Iraq he offers a queasy revisionism that all but denies the legacy of Vietnam. Considering Deerfield is a Vietnam vet, it feels doubly false.

Looks to be this season's family animal comedy.

Kassovitz directs with an unrelenting intensity that helps you to suspend disbelief almost all the way to the credits.

It all feels like a performance for the camera: von Trier as madman producer taunting the elder filmmaker.

As dazzling as they come, a visual pageant of strange undersea creatures hunting and scavenging and floating across the screen.

The messy emotions and illogic of human nature defines this drama.

Imagine the sequel to "Clueless" reconceived as a peroxide "Paper Chase" and punched up with a valley girl version of "My Cousin Vinny" for the climax.

Silverman is funny and, more often than not, so is the film.

It's the strength of the actresses and their nurturing community that makes this Eden so satisfying.

A welcome return to the courtship, cuddling and sweet nothings of yesteryear.

An impressive, adrenaline-boosted action showcase.

What's left at the end is an emotionally restrained vision of harsh, impoverished lives, more thoughtful than affecting, and never less than gorgeous, but so unfocused it leaves only scattered impressions.

Plays largely like a performer's showpiece, with all the showboating and not so surprising character twists that entails, but Stettner comes out the other end with a pleasantly modest and satisfying revelation.

So stuffed with Maddin-ess that it never manages to get past the glorious surfaces. McKinney strides through his role with a knowing wink, and the sheer volume of creative imagery is as distracting as it is entertaining.

It's crowd-pleasing stuff, to be sure.

For all the testosterone-driven soap opera, this entertainingly confused coming-of-age story is a seductive fantasy, a rare portrait of urban underworld machismo without the violence and the viciousness.

No more or less than it appears to be: a paean to the benevolent fate we'd like to believe watches over us.

It's still too shrill and silly to take seriously, but the high spirits and naïve message of tolerance and pride is oddly, innocently winning.

Ultimately feels hollow and slapdash.

Wholesome, warm and energetic -- if predictable.