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.