With a thieves den of borderline-Shakespearian characters, a wickedly literate screenplay, potent direction by David Fincher, an exceptional ensemble cast and subject matter that speaks to a generation and well beyond, The Social Network is mesmerizing.

Let Me In eclipses "Twilight" in every way, leaving you thirsty for more of this haunting, touching and unforgettable thriller.

A black comedy lacking somewhat in both blackness and comedy-isn't a bad film, exactly, but it is undistinguished, in the sense that its ideas and emotional payloads are both safe and small.

A mess of a horror movie that spent several years sitting on a shelf and should have remained there living up to its fullest potential as a dust magnet.

Adam Green's inventively gruesome slasher is the widest unrated release in 25 years.

Everything about this film is fairly offensive, including its racial stereotypes, homophobia, misogyny, generally bad writing and amateur filmmaking.

With the woes of Wall Street constantly in the headlines, Oliver Stone could not have picked a better time to reignite Wall Street.

The best parts of Sparling's script play like an absurdist snuff film.

Enter the Void was never going to be another "Avatar." It won't be another "Irreversible" either.

When a filmmaker like Guggenheim is capable of doing that with a topic as complex as the public education crisis, you know you're watching the work of an extraordinary storyteller.

A talented cast is game, but the lazy script utterly fails them.

Directorially, the film takes a few too many trips into prosaic slow motion.

Bottom line: It's a good one, fresh, funny and vintage Woody.

If "Heat" and "The Departed" had a baby, the result might come close to The Town, a riveting and explosive crime thriller and one of the year's best pictures.

This is a film of warmth, humor, suspense and surprising grace.

Parents with restless, animal-loving children may as well throw it a bone.

This is one of those movies in which the lead character is so self-possessed, wise, well spoken and witty, that she sounds far too adult to be a teenager.

There are a sufficient number of jolts thanks to quick edits and sound effects, plus the script's efficient structure.

The result is a rather revealing film, not only about Sara and the choices she's made, but about the industry itself, with its contrasting pleasures and pressures.

With a premise better suited to comedy than drama, The Freebie is more somber and less stimulating than expected.

A specialty house crowd pleaser on par with their previous arthouse hit "The Visitor," and Hoffman should be prepared for another round of acclaim; except this time, admirers will be discussing his directing work.

The drama boasts a stellar cast, exquisite performances and a tense atmosphere. It is a film that the author's fans and lovers of mature, measured storytelling will embrace.

The work is a brutal rite of passage that will click with anybody who has put it all out there and lost once, twice or thrice. And still got up to face the music again.

A whipsmart twist on a particular kind of romantic comedy.

(Holmes) fails to deliver requisite laughs to keep the comedy afloat.

I'm Still Here does leave us with one big question mark: What will Phoenix do next? How will he top such a flamboyant caper?

Jovovich is on cruise control here and she fails to bring any kind of new life to a character that has been very good to her.

While well known to many Down-Under fans, Bran Nue Dae has too much comic kitsch for U.S. specialty film audiences.

Landau and Burstyn remain compelling throughout.

Unsurprisingly, the strongest moments of the film are musical.

A visually rough retreading of Superbad territory with a slightly more treacherous journey, The Virginity Hit has a surprisingly softer ethical edge than you'd expect.

The film, despite its promise to excavate an inner life, wilts into banality whenever Gould's thorny paranoia and control issues come up.

Likely to resonate with a generation of young people to whom "When Harry Met Sally's" orgasm scene seems downright quaint.

With his cinema-verité treatment of baby-daddy drama in Prince of Broadway, Baker proves himself a worthy heir to the Italian neorealists of the '40s and '50s-capturing capably the desperation, and potential defeat, inherent in poverty.

How often can you see Cheech Marin nailed to a cross or Lindsay Lohan in a threesome with Trejo and the actress playing her mother?

It may be the most glaringly, if unintentionally, personal film that Zhang has made since 1994's "To Live."

Fan finds the delicate balance between broad socio-political themes and a single family torn between centuries-old traditions and the desire to succeed in the capitalist world.

Sitting through The Winning Season you marvel at how it obsessively duplicates all such films that came before but still consistently thwarts your impulse to dismiss it out of hand.

This story of a hit man who wants out after performing this one last job is so threadbare, trite and predictable that not the star's formidable charisma nor the considerable talent of director Anton Corbijn can come close to erasing its deficiencies.

It's scary fun and packed with comic bits that skate between sad and absurd like the best of reality TV.

What helps salvage the film (much to the surprise of director and co-writer Lussenhop and his fellow writers Peter Allen, Gabriel Casseus and Avery Duff) are the unintentional laughs generated by the film's outrageous gun battles, childish dialogue and an action chase featuring Brown that seems to go on forever.

This film is only for those with strong constitutions and a penchant for painstaking details.

The Thompsons have a tough task to explain all the machinations in the film's first half but once the scene is set it unravels in an entertaining way, jumping forward a year--but always with flashbacks to that infamous dinner party.

To say that Marshall's technique is so low-brow it may as well be a moustache is being kind--at best this is the sort of lazy, ambitionless hackery that can lead both filmmakers and audiences to write off a genre for dead--or at least until a more skilled storyteller is able to do it right.

The Tillman Story illustrates the amazing lengths the Pentagon went to in order to hide the details of that killing.

It's funny, clever, touching and real.

In some ways the film is reminiscent of "It's A Mad Mad Mad Mad World" with the theme of greed and a gaggle of people all after a piece of the pot, but Lottery Ticket pays off on the laughs with a strong message about using sudden riches responsibly and the importance of giving back to the community.

The script is ridiculous, the bodies are great and the film skates so long on the line between knowingly bad and bad that by the time the body count hits 100 and the booby count hits 1000, we've lost track of the difference.

Will appeal to upscale adult audiences with its mix of gorgeous Chinese locations, splendid dance sequences and compelling personal story.

This comic fantasy will delight kids and parents alike.

As if a string of bad jokes wasn't enough, Vampires Suck is full of distractingly forced pop culture references and shameless product placements (the actors practically mug for the camera while holding various products).

Just when we thought there were no new twists to the story of the Warsaw Ghetto comes this documentary: focused, sorrowful and revelatory.

A who's who of classic action stars light up the screen for pure combustible entertainment in Sly Stallone's The Expendables, a sort of "Dirty Dozen" meets "Inglourious Basterds"--and then some.

Put simply: Scott Pilgrim is a blast! The total package is a wildly comic journey into the head of a true original. If you are under 25 you will find all of it really, really funny.

This could have been a slick little thriller. Instead, it evolves into the unfolding of an epic tragedy.

The film knows the aesthetic of enlightenment, the filmmakers demonstrate adoration for their subject, but whether or not the film grasps the principle further is very arguable.

Some may say giving Mr. Killen screen time equals a bully pulpit, that it would be reckless and cheapen the heartfelt message. To the filmmakers credit they offered generous portions from both sides.

The juxtaposition of the tragedy and the lunacy of the circumstances are not completely disparate; satire is an appropriate weapon here, but it's the drama in Peepi Live that truly resonates.

An odd little film that aims only to please itself.

The performances are spot on and so is the film's ever growing sense of horror.

Unlike "The Lost Boys," there are no bloodsuckers in Twelve. Instead, it just sucks time: 98 minutes to be exact that you can never get back.

Dazzling turns by stars Eddie Marsan, Martin Compston and Gemma Arterton; unrelenting suspense; and a wealth of black humor will appeal to an arthouse crowd, though the violence and other unsavory aspects of the story will turn off some.

It's dumb and consistently funny.

An uplifting, high energy documentary.

Back for a third go-around, the Step Up franchise is still as light on story as it is on its feet, but audiences looking to get a cinematic workout from the high-stepping action served up here could do a lot worse.

Luke Wilson's terrific performance renders an uneasy hybrid of crime drama, comedy and ecommerce far more compelling than it otherwise would be.

Along the way Göran and Sven suffer the standard indignities of a Gay couple in an idyllic Swedish neighborhood. Which, as it turns out, are all the same indignities a Gay couple suffers living in an idyllic American neighborhood.

This is a beautifully crafted and special movie to cherish, one likely to stay with you long after most of the so-called summer blockbusters have faded into memory.

Part saga of days gone by, part psychological portrait of the mountaineering spirit, as well as a tale of adventure, Anthony Geffen's documentary will rivet fans of the sport and history buffs alike.

Cairo Time remains smart, compelling and appropriately sad at its finale.

Fans of "Train of Life" will undoubtedly embrace the picture's similarly ragtag collection of clever, lovable misfits.

Will appeal strongly to a mature audience drawn to robust characters, dry wit, and great performances.

The most compelling thing about it is what it captures: a snapshot of America's ongoing and endless cultural war at a moment when things begin to shift.

Fails to deliver enough clever gags, emotional warmth, or eye-popping 3D to compete with recent family releases.

In sum, the film is not without its sweetness. Carell's Barry retells the story of his life in dioramas populated completely with costumed, stuffed mice.

The surprises really do surprise but often because they're remarkably stupid and poorly explained.

Ferrera proves herself to be just as talented in dramatic roles.

Hugh Hefner has earned the gift of a fawning, non-confrontational greatest hits package and that's exactly what he's received, even if it's not what we necessarily wanted. As such, this will only preach to the converted (and maybe the perverted) and is best suited to DVD or cable.

Leon Gast's profile of the photographer is not devoid of entertainment value or unhelpful in understanding the history of photojournalism, however, the movie is as ephemeral as one of Galella's snapshots of a coked out, B-list celeb exiting Studio 54 circa 1975.

The original Jonathan Ames novel from 1998 is a rich, funny and unusual work. The movie opts for the funny and unusual, leaving us with characters ill-equipped to rise above their shtick or engage our sympathy.

While it isn't the only adaptation to give flesh (or ink) to Cleary's indomitable misfit, it's the most accessible retelling to date.

In a crackerjack and very lean 100 minutes, the lithe and physically dynamic Jolie burns up the screen and shows the boys how it's done.

Frank Ross' newest film, Audrey the Trainwreck, is at once utterly down home and completely philosophical.

While this film has the trademark Solondz black comedy, it does not probe into deeper emotions as successfully as "Happiness" did.

Tirador ’s frenetic style and locale will remind many viewers of Fernando Meirelles’ much-admired City of God.

While in many respects Spoken Word is adequately specific, it's still not very deep.

Some points are driven home over and over again and that repetition robs the doc of a bit of its power, but overall Countdown to Zero is effective and frightening.

It's hard to watch Farewell without thinking of such '70s classics as "All the Presidents Men" and "Network," mature dramas that Hollywood has since all but abandoned (with intermittent exceptions like The Insider).

Using clips from home movies, newsreels and public access TV, Davis does a heroic job of bringing the edgy and diffuse mixed-media New York art scene of the '80s back to life.

In terms of sheer originality, ambition and achievement, Inception is the movie of the summer, the movie of the year and the movie of our dreams.

The sweetest runaways you'll ever meet are pre-teens Kylie Lawless (Kelly O'Neill) and Dylan Dunne (Shane Curry).

This is the kind of movie where the audience of extras orgasmically react after every song as if they were at a Bruce Springsteen concert instead of watching a bunch of kids who wouldn't make the cut in a junior high production of "Bye Bye Birdie."

A beguiling cross between fiction and non-fiction, Alamar regards the relationship three Mexican males have with the sea.

Big and brash with a fantasia of battles and chases thrown in to keep the young ones enthralled for its nearly two-hour running time.

A rousingly funny, heartfelt and imaginative 'toon blessed with the vocal talents of Steve Carell and loaded with whimsy and smarts.

Predators is sometimes silly and hardly original, but it delivers the thrills.

The movie is really best enjoyed as a fun little addendum to a profanity-laden chapter in New Media history.

A movie that overrules logic irritates its audience; we don't like to be reminded that there's a writer pulling the strings. And here, the POV horror is a conceit as well as a distraction, a crutch to create suspense from shaky, dark footage.