The movie buries its treasures in the crevasses of its drollery and craziness.

Despite the obvious shortcomings, Echo in the Canyon should please fans of the music, as well as newcomers to the sound who are experiencing it fresh.

Isn't Lee's most personal piece, but it may very well be his most mature.

Elgort’s performance is more mannered than Woodley’s open-faced, direct line to the heart, but it works.

Welcome to Me isn’t laughing with Alice, but at her, in what seems like a harsh reaction to mental illness.

In the end, Zentropa is above all unique in its radical take on the inherent confusion of postwar Europe, offering the viewer a glimpse like none he has had before.

Not that anyone was asking for a reboot of the series that is perhaps best remembered as the launching pad for Johnny Depp's career, but here it comes anyway. The film will probably gain several points on the likability scale for its sheer unexpectedness and modest ambitions.

It can be an incredibly entertaining romp through the picket fence yards of an America that only exists in our collective unconscious.

In the end, Redbelt prevails, just as Terry teaches his students to prevail, but getting there isn't always pretty.

Still, this is recent and public history, and Fair Game, which both fascinates and infuriates, comes across as little more than a footnote in an ever-lengthening list (thanks, Wikileaks!) of the Bush White House's sordid, potentially treasonous actions leading up to and beyond the invasion of Iraq.

Though the history and the palace intrigue are not at all difficult for Westerners to grasp, a tighter running time would probably help this epic reach more eyes in America, where it has received the biggest release ever for a Bollywood

Ultimately offers some ironic amusement but wallows too long in the sins of its father.

Tamra Davis' directorial debut is a noir-ish, adrenaline-fueled tale of a love on the border between teen angst and homicide, and it packs a mean, unrelenting punch.

Most anthologies have the framing mechanism simply service the stories they contain: Instead, Spindell weaves each tale into the bigger fabric, like bloody fat quarters making up a gruesome but surprisingly snugly quilt. When the pieces all are sewn together, the fully assembled The Mortuary Collection may well be the most wickedly fun anthology since Trick'r Treat.

As Benny, [Driver] nudges the film out of its few valleys of smarm, making Circle of Friends a heartfelt love letter to circles of friends everywhere.

Packed with an equal amount of fart gags and jokes about the modern state of superhero films, Teen Titans is a perfect bit of escapism for families suffering from superhero fatigue.

James Gandolfini’s wintery silences and bitter outbursts are enough on their own to merit seeing this otherwise frustratingly vague slice of low-end Crooklyn crime life, but just barely.

There's nothing that feels like real rage, nothing that even remotely approximates the spiritual decimation of a termination.

Equal parts tragedy and comedy, high drama and low farce.

Isn't going to make anyone's head explode with joy, but it is sweet and sporadically funny in its own loopy way.

This a deeply humane and affecting movie, surprisingly gentle in spite of its black-comic tinge, and without the slightest hint of schmaltz.

Don’t leave until the final credits finish rolling or you’ll miss what many are considering Kill Bill: Vol. 1’s best bit. Trust us on this one.

The film moves so subtly, in fact, and so seamlessly between wry humor and the emotional wreckage of life-or-death, that it was with some shock that I found myself weeping halfway through the film.

There’s something a little pious about how resistant the film is to portraying Nicky not just as an admirable character but as an interesting one, too.

Wright takes the tools of a bloodless medium, the video game, and crafts an action-comedy with a true-blue beating heart.

The story of the short-lived women's baseball league gives Marshall the opportunity to examine the roots of modern feminism and have a darn fine time doing it.

Technically, what’s on display may not be the Oscar winner’s finest go at filmmaking, but never has his message seemed more urgent and unaffected.

So even though Get Duked! is a slapstick, rap-fueled horror comedy about a bunch of Scottish inner-city kids being hunted in the glens by a pair of rich snobs disguised as the Queen and the Duke of Edinburgh, you could slap a "Filmed at Ealing Studios" card at the end, and you'd know exactly what to expect.