First time documentarian Angela Ismailos has interviewed ten noteworthy international directors about their art, and then cut them together by skipping back and forth between their voices like an iPod in shuffle mode.

The problems begin with Shyamalan's script, which is an orgy of exposition. The characters explain and explain and explain some more, points driven home with the subtlety of a jackhammer.

Eclipse has its cheesecake and eats it, too.

Most of its truth (and any irony) is undercut by director Vikram Jayanti's fawning approach.

Love Ranch proves to be a provocative, highly entertaining and surprisingly touching peek into a unique world movies don't often explore.

Current Saturday Night Live (SNL) comic Will Forte may have bombed in the recent SNL spin-off "MacGruber," but a dream team of SNL alums, including ringleader Adam Sandler, put the luster back in the SNL reputation with the audience-pleasing, all-ages comedy Grown Ups.

The filmmakers have created a wrenching piece of work that allows the viewer to draw his own conclusions-and should make anyone of whatever political persuasion think about exactly what they mean when claiming to "support the troops."

Dogtooth will begin to open the door for U.S. specialty audiences to discover Lanthimos as a new master and anticipate his future films.

Stone embarrasses himself by backing the wrong horse and then making a weak case for him.

Resnais' storytelling is in top form. Turning 88 this June, he's an inspiration to us all.

Stylish, globe hopping, action-packed comedy that starts at full blast and never lets up.

What MORE could audiences want from a movie than this hilarious, heartwarming entertainment for all ages?

Conceptualized and re-conceptualized, written and re-written, shot and re-shot, cut and re-cut, the final product is the world's longest short film.

Those unfamiliar with the Duplass' previous movies won't realize what's missing; they'll just enjoy the earthy angst, edgy laughs and off-kilter casting of Jonah Hill.

This intense and almost operatic Italian family melodrama recalls the best of Douglas Sirk.

The performances are excellent, even if none of the characters are all that likeable or involving.

Sullivan's easygoing performance as a Brooklyn musician dumped by his girlfriend prior to a planned Jamaican cruise together syncs perfectly with writers/directors Ben Chace and Sam Fleischner's dreamlike storytelling.

More so than his other documentaries, Nygard remains in the spotlight from start to finish as he traveled across the globe to seek answers from various religious leaders. It's one thing to fail as a doc showman but by the film's end you feel like you have no answers to any of his questions.

Educational rather than entertaining.

Jaden Smith is destined to be a star by the force of will (and wallets) of parents Will and Jada Smith, both producers on The Karate Kid. But he's also got the raw material.

This revved-up movie version offers a perfect mix of non-stop thrills and clever dialogue, mixed with an engagingly light touch. Nobody is taking anything too seriously here, and that's the fun of it.

A sumptuous recreation of 1920s France and the unbridled affair between two of the century's most iconic figures.

For the small but enthusiastic documentary crowd and the comic's diehard fans, it's a must-see.

Winter's Bone so far past any notion of formula or precedent that comparison is a futile exercise. This film is a thing all its own.

There are gaps here and there, but it provides a fascinating introduction to a corner of film history that has gotten too little attention.

Ondine is Injected with a heavy dose of magic and has a lot going for it: an endearing performance from star Colin Farrell, Christopher Doyle's evocative cinematography and a captivating-if thin-story.

Despite Brody and Polley's reasonable efforts, they can't compensate for a script that undermines its curiosity about humanity.

What transpires gives fresh meaning to ‘sex, drugs and rock 'n' roll.'

Ultimately rather opaque. It lacks sufficient emotional and psychological clarity to cut through our disaster fatigue.

Very small children may well take a shine to the big, goofy dog and his furry friends, but parents and older siblings will be left squirming in their seats at a bland, predictable blend of bad comedy and sentimentality.

It is America's oldest and most prestigious high school science competition. Over two thousand students begin each year vying for slots; 40 are chosen as finalist. For high school science and math geeks this is a big deal.

Burzynski may have credibility in the eyes of some, but the movie about him has no credibility, so no one will be receptive to its message.

After this bomb, Katherine Heigl and Ashton Kutcher may qualify as two of the most attractive and prematurely washed-up screen actors Hollywood has ever produced.

Redemption could have come if the story had more kick.

Mixing old-fashioned content and state of the art effects, this Jerry Bruckheimer production trades ‘pirates' for ‘princes' to revive the swashbuckling, sword fighting spirit of the sort Douglas Fairbanks or Errol Flynn specialized.

Silly and not nearly scary enough, this does not rank as grade-A Romero, but the story unfolds efficiently and economically and it provides plenty of laughs.

Like "Amelie," Micmacs is visually dazzling, the ravishing images coming courtesy of "La Vie en Rose" cinematographer, Tetsuo Nagata.

The Father of My Children is a protean charmer just like Grégoire Canvel, the title character modeled on the late Humbert Balsan.

Best enjoyed as a rousing period piece.

Offers the kind of intimate, naturalistic look at human interaction that recalls the heyday of Eric Rohmer.

In his densely constructed and pretty damn brilliant film The Juche Idea, Finn takes aim at North Korean president Kim Jong-il's theories on cinema and how its ultimate purpose is to advance political ideology and party loyalty.

The "Fab Four's" dramadies continue for the audiences who love them. Trouble is the surrounding story and its supposedly fun sojourns are as embarrassing as granny panties.

Hilarious and heartfelt from start to finish, this is the best Shrek of them all, and that's no fairy tale.

What makes Forte so funny is that he stalks through the flick cocksure and utterly deadpan.

The central notion in After the Cup is not the obvious; we can all live and work together to our greater achievement no matter where we are from or who we are. Rather, the question here is-will we-even when we lose the football game? It's a much smarter and more interesting question.

Holy Rollers is mostly a marker being put down by some talents to watch, especially Eisenberg, who is greater than fans of "Zombieland" could have imagined.

Boasting impressive production values, engaging storytelling and a standout lead performance by German star Ulrich Tukur, John Rabe will receive enthusiastic word of mouth from select arthouse audiences.

Bolly-Holly-Tele-Novella heaven, in three languages.

Curry also emphasizes the human drama of the kid drivers who face their own distinct challenges and setbacks in order to become champions.

Notwithstanding Steven Soderbergh's name among the nine credited producers, this is strictly mid-level assembly line product, designed to ride entirely on the modest marquee value of second-tier or past-prime stars.

It's certainly a story worth telling, but hardly as pivotal and all-encompassing as they would like to believe, all of which makes the effort far more exhausting than it ever should have been.

Daddy Longlegs is a discovery destined for year-end top ten critics lists and comparisons to classics like Vittorio De Sica's "Bicycle Thieves" are expected. Hopefully, Daddy Longlegs will also introduce the Safdie brothers to the larger audiences they deserve.

The entire cast is superb. Crowe's an ideal Robin Hood-born to play the role-he's fully in command but human to the core. He owns it.

This movie believes that true love isn't supposed to be hard. A fine ideal, but it feels as flat as a pizza.

Two hours of femmepowering wish fulfillment.

So it's apropos that Forby's biggest misstep is his thin and careful script that can't carry us away on the same winds of fate that would put a sovereign republic's future in the hands of such a young woman.

Veteran British director Ken Loach fields one of his most accessible and lightly-toned offerings to date with this comedy about a football fanatic trying to sort out his life.

There's nothing more irritating than a piece that strains to be kooky and eccentric, yet one reason The Living Wake ultimately gets to you is that O'Connell is not trying too hard.

An entomologist's delight, Jessica Oreck's movie about Japan's insect mania is worth watching even if you're repulsed by creepy-crawlers.

The story behind brothers Logan and Noah Miller getting their movie made is almost better than what’s onscreen, but the film is heartfelt and engaging enough to be worthy of attention.

Fans of the first will not be bored. This Iron Man may not be the Godfather II of comic book movie sequels critics hope for but it is a complete blast anyway.

This documentary on one of the most universal, photographed, analyzed, opined upon and slavered over human experiences manages to astound.

A fascinating, strangely funny and remarkable film about events so incredible you'll likely have a hard time believing what you see onscreen.

We get the broad strokes of how the hippies corrupted their own movement, but there isn't a single lead character we'd give a dollar to on Haight Street.

Annette Bening is the most pivotal character in the movie, both angry and scared.

Channing doesn't bring any new tricks to the table but with her character's tenacious and spirited nature she's fun to have around for a few brief scenes.

By focusing on the human aspect of Al-Qaeda, The Oath does give the viewer something to think about, but the film is unsatisfying, raising questions and providing too few answers.

Uproariously funny.

The director's biggest stroke of genius was casting Baruchel.

The basic feeling you get out of this version is ‘been there-done that.’

The movie's simple-minded lesson that forests are good and development is bad is undercut the minute one pauses to think about how many natural resources were wasted on this sorry excuse for a motion picture.

Odd but endearing, The Good Heart has just exactly that--a good heart--mixed with a simplistic story that comes recommended as a showcase for two fine actors at the top of their game.

Not to be overlooked are the film's wealth of fine supporting performances and technical contributions-the always wonderful Emily Mortimer, Martin Ruhe's extraordinary cinematography and Kave Quinn's incisive production design each playing a part in what must be considered one of the very best films of the first half of 2010.

Mercy can be described as a moody picture that traffics in variations of only one mood or sentiment: self-pity.

It may take some time but Nicole Holofcener’s latest effort gradually grows on you. Partly it’s her obvious affection for her oddball collection of characters; partly it’s the performances of the likes of Keener and Oliver Platt as her wayward husband.

More of a stunt than a script, The Human Centipede (First Sequence) should get a modest amount of I-dare-you ticket sales, but it's about as mass market as a dogfight.

Listen closely, however, and amidst the zingers and world-weary chatter, Chekhov's generous humanism comes through loud and clear.

The overarching lesson is twofold: environmental issues are never as simple or as cut-and-dried as we would like, and the first order of business is to get the science right.

The Losers not only looks like a low rent, buttoned-down version of The A-Team, but it also resembles a hybrid of other flicks like "Mission: Impossible" and "Inglourious Basterds."

Although it’s formulaic in the extreme, The Back-up Plan is an easygoing romantic comedy treat for fans of Jennifer Lopez.

This doc contributes to the small collection of films on burlesque something more self-aware looks at the matter don't: an exposition of the messy history of a complex popular art that still leaves us with much to explore.

Best Worst Movie is a must-see for students of film criticism and the philosophy of art.

The entertaining non-stop action has the potential to give the film wide cross-over appeal and cult status.

Appearances by Toni Collette and Whale Rider’s Keisha Castle-Hughes should draw a few curious parents to what is, most of the time, a quirky and quite enjoyable coming of age saga.

The compellingly awful thriller, In My Sleep--in which Melrose Place meets imitation Hitchcock--is so unselfconsciously derivative that you have to admire it…or, if you don’t admire the movie itself, than admire the jejune chutzpah of writer-director-producer Allen Wolf.

Too introverted and gimmicky for its own good.

The film’s warmth and heart comes from introducing us to someone born to do exactly what she’s doing.

Narrated by Pierce Brosnan, Oceans is simply amazing at times, a truly remarkable and extraordinary journey under the sea that takes us places we have never been before.

A clever movie premise based on an obscure comic book has been turned into, okay we’ll say it, a fanboy’s kick-ass wet dream of a movie that could be a surprise Spring smash.

The doc has won a host of awards at film festivals and it is a policy wonk's dream of a movie, but it is dry, statistic-laden viewing that is unlikely to attract much attention beyond education circles.

Performances are generally first-rate with Hopkins exhibiting an ease and laid-back approach that serves Adam perfectly.

Offers very little new for those who saw the original.

Borte supports his jewel of a story idea with dead-on casting, stunning images and product placement that's intentionally heavy-handed.

The movie, largely improvised and totally believable, is often very funny, and the glimpses of life inside what remains a very repressive regime are fascinating, but in the final analysis, despite a fairly grim denouement, there's little here you haven't already seen in Hollywood flicks like "Singles."

Really a perfect family movie.

Campanella has laced his story with twists and turns worthy of Hitchcock and the framing device of the novel (which forces the protagonist to sort out the whole thing through writing) is ingenious.

This doc is far from perfect, formally it accomplishes nothing new and has opportunities to go places that could have been massive, but these missed opportunities don’t undermine its other accomplishments. It’s imperfect and still does quite a lot.

It’s a crock to believe a film’s worth a twirl because it has a saucy title.