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.