Films have punctured The American Dream before, but rarely so devastatingly as The Company Men does.

Rogen isn't the obvious choice for a comic book icon but he forces his personality onto this material with an ingratiating ease.

The hijinx get deflating, yet the tension and genuine sense of investigation keep you involved.

Boote's strong film will make you look at the floating plastic bag from American Beauty in a new, wholly suspicious way.

The accessible story and fast-paced action scenes could draw a good arthouse audience, more than usual for a Romanian film.

Blend of sardonic humor and bitter poetry.

Though it slows down in the back half, the opening acts of Season are reasonably entertaining.

Country Strong is a charmer that makes you forgive all of its false notes simply because the talent plays them with conviction.

Wacky and good-humored, Go Go has a seductive visual appeal that Ferrara exploits to the fullest.

Mike Leigh has a knack of making the ordinary extraordinary. Here he deals with themes of class, family and depression over a period of a year, breaking it up into seasonal chapters.

Jeon received the Best Actress at Cannes for her wrenching performance. She's the first Korean to receive an acting award at this Festival.

The profundity to tedium ratio is around 1 to 3. Not bad for a micro-release slated to screen seven times in a museum (NY's Rubin Museum of Art) but it's a film more interesting in theory than reality.

Biutiful, which gets it name from a child's misspelling of the word, is in itself a beautiful, mesmerizing film and Iñárritu's masterpiece.

As in "L'Humanité" and "Twentynine Palms," the director presents a cogent study of emotional excess with a sure handed control that harkens back to Robert Bresson.

A movie that ought to entice people to want to travel with Gulliver instead inveigles them to run from him.

To say the franchise is coasting along on fumes suggests it once ran on a full tank, which may not even be true for "Meet the Parents," the surprise hit that kicked off this broad comic franchise.

The kind of grim, character-based movie that needs a strong performer to anchor it. Director Derek Cianfrance has been fortunate enough to land two: Michelle Williams and Ryan Gosling.

For all lovers of old style animation it should build up the same cultish following as "Triplets."

American viewers are unlikely to be interested.

In a family market that's been woefully weak of late, Megamind should not only rescue Metro City but the box office, too.

Not quite the yuk-fest one was hoping for or as perversely alienating as "Observe and Report," Due Date shares the schizophrenic quality, though not the numbing length, of another Seth Rogen movie, "Funny People."

Even the presence of Dan Aykroyd as Yogi and Justin Timberlake as his pint-sized straight man Boo Boo, couldn't save the movie.

Even Reese Witherspoon, whose adorable scrunch-face projects the romantic travails of lovelorn women everywhere, looks unsure of herself.

Cool It resonates, and gives one pause not just to consider the merits of the global warming question, but to consider the merits of all that we've decided to do about it, impending doom notwithstanding.

Unbeatable entertainment if you want to climb on board for the ride.

Production values from designer Anthony A. Ianni are matter-of-fact with the exception of standout effects from key make up artist Colin Penman and his staff. Its cast is fairly forgettable with the exception of Saw veteran Tobin Bell as Jigsaw and Cary Elwes as Gordon.

This is one of Denis's most provocative films and also one of her most compelling.

The movie never strikes a balance between its comic and dramatic halves and that dooms it. It is an almost good film that flounders, because there is no treatment for tone deafness.

Watching Driver peel rubber proves B grade action movies are a welcome diversion in the era of CGI blockbusters. If only Faster didn't fizzle each time Johnson put down his gun.

Monsters is enormously satisfying in the way it combines suspense, romance and sci-fi. It heralds a bright new talent in Edwards. If he can do all this for no money, imagine what he can do with a real budget.

It's important to note that Waste Land is not a landscape film about the landfill itself. Instead, Walker, who also premiered a second documentary at Sundance, "Countdown To Zero," about the threat of nuclear proliferation, shows that Waste Land is ultimately about the pickers, Tiaõ, Zumbi, Suelem among others, who rise up through the power of their own artistic accomplishments.

Equally nostalgic and fresh-faced, Guy and Madeline on a Park Bench is a bohemian musical that owes as much to Cassavetes "Shadows" as it does the French musicals of the '30s.

Not only is the film a slog, the main focus is on the band's arguably inferior last decade.

A clearly personal effort, Somewhere demonstrates Coppola's featherweight touch with big subjects like identity and human connection.

An uncomfortably honest portrait of a slow mental breakdown in self-consciously bohemian, twentysomething Brooklyn, Ry Russo-Young's You Wont Miss Me is so earnest the title's missing an apostrophe.

The King's Speech is a magnificent movie treat, one of the very best pictures of the year.

It's impossible to watch this movie without feeling that you're in the presence of a good and decent man.

Ultimately, the film is made for longevity, like all the best Disney titles are. However, it's also a ready-made Broadway show, with numbers, dialogue and even drama-club histrionics all pre-packaged for immediate adaptation to stage.

This rags-to-sequins tale may be schmaltzy in its sincerity, but 'tis the season. Glitter is optional, but certainly encouraged.

A throwback to classic movies like Charade and North by Northwest where beautiful, sophisticated people answer life-threatening danger with bon mots and ingenuity.

That sense of mischief and pleasure in the craft makes Bellamy a thoroughly intriguing and likeable experience. From Chabrol we would expect nothing less.

The film might have ended at its action-packed and ultimately moving climax, but screenwriter Steve Kloves goes one step farther. He finds the perfect cliffhanger, one that emphasizes just how dangerous young Mr. Potter's situation really is and definitely leaves the audience anxious for the next chapter.

There are no surprises in this tale, filmed with deliberately deglamorized handheld camera (yet inexplicably in widescreen); it puts the "adult" in "adultery drama," if by "adult" you mean joyless bores.

A small film about enormous fears.

This movie is often hysterical, and sometime very sweet.

This intelligent, emotional drama should resonate strongly with fans of character-driven stories and those interested in tales of American political struggle.

This oddball tale of life on a snowy mountainside is consistently upbeat and surprising, with action intensity that stays sturdily at "Goonies" level.

Sternfeld's depiction of small town life feels completely inauthentic at almost every level.

Genre movies like The Warrior's Way are all about pleasing core fan boys. While the film claims dazzling visuals, Lee fails to deliver the type of never-before-seen martial arts fights fans demand.

This is a soap opera that stands at a distance from its characters (that distance being the length of a lawyer's briefcase) and, though handsome and capable, feels as inert as mannequins in a shop window.

On the heels of another revelatory turn in True Grit, Bridges is sensational again, here in a groundbreaking performance.

It's an unforgettable, moving and brilliantly acted drama that richly deserves to be seen by anyone who cherishes great filmmaking.

Compact if not cohesive, this is an Age of Aquarius-meets-"Mamma Mia"! distillation of The Tempest.

In its small moments, say when Walhberg sighs that his robe misspells "Micky," The Fighter feels clued-in to the very small, very tough world of a man trying to make his way out of his block-and after getting to know his family, you want to help him pack his bags.

Bhutto's story is an epic one, and Hernandez and O'Hara prove up to the task.

Barney's Version is one of those rare films whose caricature of life undeniably illuminates. It's the vivid story of the topsy-turvy character so flawed you love him despite yourself.

Michael Apted opts for a certain dated and mannered appeal with a whiff of nostalgia for more innocent times, which lends added enchantment.

Smartly emphasizing Portis' quirky dialogue and dark comic tone, the Coens show the flare that made them famous.

With Natalie Portman dominating the action and exhibiting a screen maturity not seen from her before, this all-stops-out Grand Guignol melodrama exhibits more than enough blood, sweat and tears (emphasis on the blood) to score nicely beyond the ballet crowd.

To call this so-called family film dreadful is an understatement. Jaw-droppingly awful on almost every level, this is a movie to avoid.

Sensual and romantic with a heavy dose of the supernatural and populated by indelible characters.

It has sufficient flavor to perform relatively well in markets with significant South Asian populations or amongst serious foodies who'll flock to anything remotely germane to their passion.

Great as it is, this is not a ticket buying kind of movie.

Never finds a satisfactory way of examining its subject aside from soapy melodrama.

This sci-fi thriller manages to blend genuine suspense with unintentional laughs.

The movie was written and directed by Oscar winner Paul Haggis (Crash) and when stripped to its logline, it's pretty ridiculous.

Leyser has done his job with this, his first feature, burnishing Burroughs' legend and making manifest the enormous shadow he still casts over writers and artists of all stripe.

While the film is likely to find outright rejection among those who remain jittery with each turn in the War Against Terror, it should find a warm reception with fans of dark, outrageous humor.

The problem is that once you get past the barriers that Jewish players dramatically overcame between the early 20th century and post World War II, the rest is precipitously less interesting.

Ford is hilarious and brooding, deeply wrinkled and deeply intimidating. He's got the best lines, courtesy of screenwriter Aline Brosh McKenna (of the repellent "27 Dresses" and the much better "The Devil Wears Prada").

The case may be plausible, but Gibney's method - a singularly unimaginative trawl through archival footage and listlessly edited talking heads - is life-sapping to watch, and his editorial contributions laughably literal-minded.

These ladies - even at their weakest - carry themselves with the confidence of winners, and we cling to their strength like a life raft.

With first-rate performances from Sean Penn and Naomi Watts and a compelling script, this suspenseful, taut drama should keep audiences nailed to their seats.

Robert Young's Eichmann feels the burden of history so heavily that it's effectively smothered by it.

The absorbingly bittersweet result ranks as one of the best non-fiction films of the year.

Fans will presumably get what they came for; what anyone else gets out of it is hard to say.

The film wears its heart on its sleeve, but the drama falters when the tone grows over-earnest; additionally, Scott's direction fails to exert a tight grasp on his material.

Wiseman's approach will surprise none of his veteran viewers: no voiceover, no real narrative, just a pure evocation of a place that acts both as a specific site and a microcosm of a larger sphere.

With a tour-de-force performance from James Franco and an imaginative shooting style that relies on two cameras and inventive angles, what could have been static and deadly dull comes blazingly to life in this powerful and compelling story of one man's will to survive.

Although its claims about Hildegard's modernity and relevancy should be taken with a grain of salt, one readily imagines Vision attracting a cross-section of the curious, not limited to feminist cinephiles and true believers.

Serves as both a sequel and a prequel, and the team Oren Peli has assembled deserves credit for beefing up and rounding out his original narrative without letting it mutate into something unrecognizable.

Kalamity is a real klunker.

A stirring, unforgettable motion picture experience, a superbly acted and courageous story of one woman who made a difference.

Though Hereafter has plenty to give you pause: its plot flatly insists there's an afterlife without really doing much with the matter, metaphorically or otherwise.

Unfortunately, I Want Your Money amounts to little more than a Moore-style screed with a conservative bent and a less corpulent and sardonic host.

The deadly sins of envy, lust and salacious gossip in deepest rural England provide the motor for Stephen Frears's black romp, featuring vivacious former Bond girl Gemma Arterton.

Stone is highly charged and vibrant, and pits Edward Norton against Robert De Niro for two utterly electrifying performances.

If this film is nothing else (and it may be nothing else) it's funny and (ironically) fundamentally true. What certainly isn't true is what it purports to be, which is a legitimate course of study that analyzes the historic, international, socio-cultural, economic and psychological relationships between individuals, governments and corporations through the prism of physics and what has been loosely called metaphysics.

No one is expected to take any of this seriously, so Schwentke keeps things light: light on big laughs, light on unique action set pieces and light on any sense that these game but retired spies are too old for this crap.

The laughs are a little uneven and director Jeff Tremaine does not always take full advantage of the 3D technology, but the movie has enough going for it to satisfy Jackass' legions of fans and make some new ones.

The key point is made, if seemingly lost in the overly cheery finale.

There is so much wrong with the political system at this point that gerrymandering, in which politicians shamelessly redraw electoral boundaries to rig the outcome of elections, seems almost quaint.

Like Todd Haynes' "I'm Not There"-which never once came out and said the name "Bob Dylan"-Nowhere Boy bites its tongue and refuses to say "The Beatles."

Particularly impressive is veteran cinematographer Dean Semler's inventive cinematography that manages to put the audience right in the middle of the races like never before.

The script, from first time screenwriters Ian Deitchman and Kristin Rusk Robinson, takes a predictable premise and gives it surprising depth.

Isn't very funny or much fun at all.

Despite the high drama of the financial crisis, this documentary, which is full of talking heads, could have been as dry as a balance sheet. It's quite the reverse: funny, sardonic, investigative and gripping.

Turns out to be a huge disappointment.