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.