Intense people behave in intense fashion, and that's that. No guns, no bombs, no noises louder than an argument or a father who likes to drink.

It is flawed but ultimately captivating.

Ultimately, Revenge of the Electric Car is like meeting with an overeager salesman. In real life, that's not necessarily an unpleasant experience, but it also doesn't last 90 minutes.

Olsen makes us understand, as best we can, Martha's plight. She has a tenuous grip on reality, and, thanks to Olsen's performance and Durkin's sure hand, by the film's end, so do we.

With its convoluted plot and fading stars, The Double feels like a straight-to-DVD feature that somehow sneaked onto the big screen. It's simply not very good.

There are plot twists and turns, some of which amuse, some of which disgust. Issues of gender and identity take an eventual backseat to gruesome experiments -- gruesome because of the manner in which they're conducted, by an unfeeling monster.

What you would expect from the third film in an unlikely franchise: less of the same.

You can't help leaving the film with the following thought: Man, it's good to see Murphy being funny again.

Burke and Hare is a waste of a good cast and a better story, as well as a hollow reminder of how John Landis seemingly has lost his touch.

A terrific piece of entertainment. The financial lingo will please money wonks. But the film as a whole focuses more on the people and personalities who went into such a catastrophic failure.

Not just a fascinating character study but a kind of horror movie as well.

Kartheiser brings some zip and smarm to the proceedings as the villain with a million years in his vault, but it's not nearly enough to make In Time worth your time. Or your money.

Tremendously entertaining.

You also get drinking. Lots and lots of drinking. By the time the movie is half over, you'll feel hungover.

A surprisingly delightful adventure romp.

It comprises some 20 talking heads, each pretty much saying the same thing, interspersed with film of children dressed up as mythical heroes, enacting the stages of the "hero's journey."

The Woman isn't simply a gore-fest. It's just mostly a gore-fest, with a little more going on, as well.

The story simply doesn't stand up, with its combination of well-worn plot elements and confusing red herrings -- or maybe they're just details that don't add up.

More of the same, using the found-footage tricks the first two films employed to try to shock the audience. But man, are those some good tricks.

He's often called the Yiddish Mark Twain; supposedly Twain, upon hearing this, said to tell Aleichem that Twain was the American Sholem Aleichem.

One can forgive the trying-too-hard aphorisms -- "You don't choose a life ... you live one" -- but savvy cinephiles are sure to be annoyed by Tyler Bates' hypnotic ambient-folk soundtrack, studded with such despoiled musical gems as Nick Drake's "Pink Moon" and the Shins' "New Slang."

The Big Year is better when it is examining the obsession of the birders, and Martin, Black and Wilson are enjoyable in toned-down mode.

While this version, listed as a "prequel," has a few gross-out moments, it lacks any sense of warmth. Which might be an odd criticism of a horror movie set in Antarctica, but there you have it.

This Footloose it's a pleasant reminder of the past for fans of the first one, and an agreeable-enough experience for everyone else.

Fantastic acting by the likes of Garret Dillahunt, Chris Cooper and Joel Torre lift characters above the cliched, offering a one-sided history lesson that is still well worth learning.

You also aren't sure what the film is about or if it's about anything at all, except fluid filmmaking.

What an interesting failure Margaret is.

With Sarah Palin: You Betcha! director Nick Broomfield manages to screw it up.