This is really Reygadas' show all the way. And what he's delivered is a sad, tawdry picture in which all hope for salvation lies with God.

Despite the film's abundant gory effects, its best technical achievement may be its English subtitles, which move about the screen for better visual and emotional impact, and sometimes dissolve into poofs of blood or other colored effects.

Sophie Scholl plods along inexorably, one step after another, to its grim, sad end. It's almost unbearable.

There are droll comic flourishes in this very brave film, to be sure, but all you really want to do after watching CSA is hang down your head and cry.

It is a sweet, simple movie with a sweet, simple message: that children see the world differently and have much to teach the people who love them.

A horror film (or, more accurately, a shocker film) that takes such exuberant, gleeful delight in the unspeakably gory dispatch of assorted teenagers that it may well be the most fun you'll have at the movies all week.

It starts off with a slick split-screen bang, but this high tech heist thriller is like a For Dummies guide to the genre.

Ultimately, one has to chalk up The Pink Panther to the good old traditions of Hollywood greed and chutzpah. Nothing this slapdash and badly executed is done for the love of movies.

In this sushi age of methamphetamine concert DVDs and dysfunction junction music tell-alls, Jonathan Demme dreams us back to the golden age of performance films.

With its jellyfish direction, A Good Woman throws its actors overboard to see if they can swim.

Long distance information? Get me Hollywood, USA: I’ve got a rusty ice pick to bury in the gullet of whoever greenlighted this pointless exercise in masturbatory tedium.

Manages the neat feat of feeling sweetly inevitable rather than boilerplate predictable.

The result is a lyrical contrast of two contiguous cultures, worlds apart in their definitions of family and love but brought together by mutual awe and basic human need.

Likely to be remembered more for its method of manufacture and release than for any inherent qualities of its own. It will also become one of the many fascinating footnotes in the always provocative career of Steven Soderbergh.

Best never to have left dry dock with this one.

It's a shame to once again witness Martin Lawrence squander his considerable comic talents under a fat suit and fake breasts in this shoddy sequel.

Parents might appreciate a lighter hand with the barnyard whimsy and food fights, but overall the movie doesn't condescend about heavy matters (grief, healing, and blended families) and is pleasantly diverting.

Has its charms, but for a movie about loving radically, it sure plays it safe.

Quite astonishingly, amidst all the chaos – and there's no better word for Tristram Shandy's inspired, breakneck madness – what emerges is a featherlight, moving meditation on new fatherhood.

It's not quite masterful enough to achieve all its goals, but Zucker is undeniably ambitious despite its relatively lowbrow and farcical approach.

An essentially toothless affair, poking fun at American imperialism and its attendant cluelessness while never illuminating much beyond the obvious.

Canny and somewhat overwhelming documentary.

The naiveté with which the missionaries approach their initial meeting with the Waodani, whose propensity to violence was well-documented, appears at once incredibly stupid and divinely loving.

It's not quite quick enough to be anywhere near as gloomily engaging as the cast's original outing.

A bright, amiable chronicle of the vivid lives of the women of Juchitán.

Glory Road really isn't a bad show – it's just an obvious one – and one wishes material of this historical import had received a more refined rendering.

I can tell you in two words why to see this movie, which is otherwise an unspecial Cinderella farce...and those two words are: Queen Latifah.

Screenwriter Dean Georgaris gets a hell of a pass here – the story is canon, and, in terms of emotional wallop, does all the heavy lifting for him – but he still manages to gunk up the works with dialogue that is dull-witted at best and outright howling at its worst.