Civic Duty stands out amid the new wave of terrorism-paranoia thrillers. It's a taut drama set primarily within the confines of two apartments in the same urban building complex and keeps the viewer guessing until the end regarding the reliability of its two central protagonists.

Eighteen short films by an international who's-who of filmmakers make up this omnibus celebrating the joys and sorrows of love and Paris, organized by neighborhood.

The movie doesn’t stand in judgment of its characters, which will probably disappoint audiences who think it ought to, but its breezy tone and ultimately affirming message should please comedy fans with an appreciation for the offbeat.

Never manages to get its relationships framed in as sharp focus as "Lantana" and goes down some unproductive side roads in its attempt to get to the point.

Wiper doesn't exploit the possibilities of his setting, so the only conflict is the fighting, the only suspense comes from waiting for the next character to pop out from behind a tree and do something possibly interesting.

This may be a remake of a Swedish film from 2002 (itself based on a novel), but unspooling in the cineplex it feels more akin to one of emo godhead Conor Oberst's more emotionally mopey musical diversions.

Kennedy’s humor comes from the broad, brainless, lowest-common-denominator school (in other words, he was born to play a grown man with the intelligence of an boy).

This pseudo-Phildickian actioner is chum for the bigger fish to come this summer; for Moore, it's a slummer.

Time and again, Devor sabotages his own attempt to bring "zoos," literally and figuratively, into the light.

The most originally funny movie to hit U.S. screens in a while.

Wilson and Beckinsale, as the couple on the rocks, do their damnedest to go along for the creepfest, but nothing in Vacancy manages to come anywhere close to the quiet and steadily mounting dread of the real thing, much less the purview of Norman Bates or his beloved mother.

In the dark of the theatre Fracture keeps it together – mainly through the sheer will of Hopkins and Gosling.

Despite a title that makes this movie sound as though it might be the latest madcap offering from Pedro Almodóvar, In the Land of Women is a much more conventional affair – a tame yet appealing melodrama about finding one's self that is alternately formulaic and unique.

Shot with the creative energy of a mediocre sitcom, the scenes play out predictable plot devices with minimal creativity and even less risk.

Count it as one of the great Hollywood mysteries – right up there with the death of Natalie Wood and the career of Vin Diesel – that we've had to wait this long for a movie starring a talking milkshake, a floating box of french fries, and a ball of ground beef.

Mainly it's messy, and I don't just mean the gouged-out eyeball in a puddle.

The fishy smell that permeates Perfect Stranger comes from all of the red herrings flopping around this absurdly plotted Hollywood thriller.

The movie feels mechanical all the way through, leaving Sadek's debut an inauspicious and ill-lubed affair.

On the plus side, Costanzo is an appealing and likable young actor who carries the film easily; he gives the impression that he is thinking deeply and mildly amused.

Dern is hilarious as the obsessive sister-in-law, Sarsgaard plays oddball dog-man to perfection, Pais is perfectly awkward as Peggy's nervous boss, Reilly rocks the subtle humor of Peggy's hunting-obsessed neighbor, and Shannon gives a breakout performance.

The cast, particularly Liotta, walk around with befuddled expressions on their faces, perhaps wondering what on earth they’re doing in this movie and how they can find a new agent ASAP.

Up-and-comer LaBeouf (Holes) is a young actor to watch, but he's had better opportunities than this teen thriller to show what he's capable of.

Grindhouse raises the bar for a certain kind of movie lollapalooza (and also for the kind of filmmaker who is also a showman, along the lines of a William Castle or Cecil B. De Mille). It's this injection of playfulness and fun and attention to the entire movie-going gestalt that will probably become Grindhouse's lasting contribution to movie history rather than any on-the-screen content of the movie itself.

The Hoax isn't Gere’s best movie (that honor will always and forever belong to "Days of Heaven"), but it might feature his best performance.

Full of sharp comedy, the writing and directing is skillful and reminiscent of Kasdan's first two feature-directing efforts, "The Zero Effect" and "Orange County."

You have to hand it to Texas writer/director Stephens: He wrings out a barely watchable hundred minutes here using only washed-up actors and a washed-up genre.

Pardon the pun, but audiences will reap little from this satanic backwoods juju thriller.

Nothing is very funny in this movie, and everything is predictable.