V.A. Musetto

It's a clever concept that should play well on TV and the Internet. But as a big-screen movie, Life in a Day -- which lists brothers Tony and Ridley Scott as producers -- elicits a shrug and a question: Who cares?

You might be reminded of Jean-Jacques Beineix's 1981 thriller "Diva," which also involves crooked cops and Metro chases. But you need never have seen "Diva" to be captivated by the exhilarating Point Blank.

The film is most effective when Geier, accompanied by a granddaughter, goes to Ukraine to speak at a school.

Trouble is, the movie is only sporadically funny, and the concept soon grows tiresome. In fact, you could say that there's too much downtime in Autoerotic.

A downer that too often resorts to melodrama.

Hugh Jackman appears briefly as Sophia's Aussie boyfriend, and gets to perform a lively song-and-dance number. But for some strange reason, his name isn't in the credits.

Be warned: The Tree is slow-moving, but if given a chance, it will (pardon the pun) grow on you.

A must for hip-hop heads. Others will either be won over or left wondering what all the fuss is about.

This film is no fairy tale for children. Not only does it contain nudity and sex, both straight and lesbian, but it also presents childhood as a time of terror.

Yvan Attal and Anne Consigny give understated but powerful performances as Graff and his wife, Françoise. Although a bit too long, Rapt makes for compelling viewing.

The opening credits of Gangster's Paradise note that it was "inspired by real events." It would be more accurate to say that the film was inspired by Brian De Palma's "Scarface" and similar fare.

Has its share of clichés and contrivances. Fortunately, compensation is provided by strong performances by veteran actor Vincent Lindon as the coach and newcomer Firat Ayverdi as the refugee.

Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.

On paper, these people may seem like boring statistics. But Andresevic, in her first feature-length film after years of producing commercials for the likes of Nike and Cadillac, turns them into humans viewers will take to heart.

Ultimately breaks down under the weight of too many characters and unbelievable twists.

Levy's innovative movie should appeal to mumblecore fans while perplexing mainstream audiences.

Strained and mildly amusing. The real reason to see the movie is the delightful performance by Sara Forestier, who rightly won the French version of the Oscar for her portrayal of the carefree Baya.

The music is vibrant and the presentation is appealing.

Don't get the wrong idea -- to Rowe's credit, this isn't just a movie about sex. It's a compassionate study of human loneliness. Whatever you do, don't confuse this with the Hollywood rom-com of the same name.

What is missing is any sort of psychological insight. Just what made Renato run? You won't find out here.

If you were among the many who thought highly of "A Prophet," the French prison drama that played here last year, you'll want to see the brutally realistic Danish thriller R.

Buck is best left to TV, where it will land soon. It's "The Horse Whisperer" that should be seen on the big screen.

A beautiful nature film, with gorgeous, multicolored shots of bees and flowers. It also is a well-made documentary about the troubles of the honeybee.

You'll want to catch this clever movie before Hollywood ruins everything with a dumb remake.

While I have no argument with Leeson's political views, her presentation -- mostly a succession of talking heads -- is dry and uninspired. These women deserve better.

You would be hard-pressed to use the word "accessible" to describe Film Socialisme, and that's exactly the way the master wants it.

You don't have to be stoned to watch Mr. Nice, but it might help to be in the same state of mind as its real-life anti-hero, drug kingpin Howard Marks.

A chaotic mess.