Stiller and Wilson are still hilarious as the supercool detectives -- there hasn't been a comedy duo this good since John Belushi and Dan Aykroyd.

Steidle had virtually unrestricted access to settlements that were under siege from the Janjaweed, Arabic mercenaries of the Sudanese government, and became the first person to photograph the annihilation.

Cimino's talent is at least 50 percent hot air, but the part that is not—his superb feel for movement across the Panavision frame—seems especially valuable. Say what you will about his overstuffed, overdetailed images, they at least represent a notion of cinema, as opposed to the flat television aesthetic that dominates Hollywood, that no film lover can afford to ignore.

Ramsay seems to be seriously intent on probing the outer limits of a mother's love and forgiveness, but the boy (played by a trio of child actors) is so unremittingly evil that the movie begins to feel like a grotesque remake of that old John Ritter comedy "Problem Child" (1990).

I enjoyed quite a bit of it, in large part because of the energy and charisma of Jennifer Lopez in the title role.

A black waitress and a white corrections officer in rural Georgia experience more misery in the first hour of this movie than some people do in a lifetime, and to its credit the drama doesn’t collapse under the weight.

On one level, The First Wives Club is a snappy satire, well written by Robert Harling (also the author of "Steel Magnolias"--another vehicle for women).

As a ditz who's just smart enough to know something isn't right, Lyonne blends hyperbole and sincerity in perfect proportions.

This semianimated adventure is enjoyable and imaginative despite its formulaic qualities.

Inspired by a true story, this slight but charming and nicely balanced comedy tells the tale of a group of middle-aged women in a Yorkshire village who decide to pose nude for the dozen photographs in a fund-raising calendar.

The movie reunites Pfeiffer with director Stephen Frears and screenwriter Christopher Hampton, who did Dangerous Liaisons (1988); this costume drama doesn't have nearly as much bite as that one, though the age reversal of its central romance gives it a certain topicality.

While largely effective, Greenwald's documentary is not a complete success.

The Christian themes of forgiveness and sacrifice are tastefully conveyed, and the opening sequence of Nazi bombs falling on London, an event only alluded to in the book, helps dramatize Lewis's fascination with power.

The screenplay tends to constrain rather than liberate Hitchcock's thematic thrust, but there is much of technical value in his geometric survey of the scene and the elaborate strategies employed to transfer audience sympathy among the four main characters.

It's formulaic but still fun, thanks to the quick and genial players.

Yates makes good use of her access to participants in Peru's Truth Commission, creating both an engaging historical survey and a timely warning about the perils of declaring war on terror.

Maybe because director Scott Marshall is Garry's son, he allows his affable father to steal the movie from everyone else, and his performance proves to be a small gift worth having.

Mixing horror and comedy while minimizing the gore, writer-director Paul Weitz (About a Boy) serves up a witty adventure fantasy with a tasty dollop of schadenfreude.

Moore's best film to date is this comic and grimly entertaining reflection on America's gun craziness and why we kill one another.

This isn't always adept as storytelling, and Block's coming to terms with his own denseness occasionally tries one's patience, but he manages to make the overall process of his reeducation fascinating and compelling.

Effortlessly interlinking the stories through the jaunty perambulations of a fresh-faced waitress from a local cafe, Thomson's crowd-pleaser makes up in refined schmaltz what it lacks in innovation or profundity.

Depp plays multiple versions of Sparrow, who now suffers from a split personality; his shtick is funny, but the players are all upstaged by the astonishing special effects, superior to those of earlier installments in creating a wondrous and menacing world.

Predictably, the violence is overwhelming. But the massacres are glamorized, and the characters look like they're posing for tourism posters.

Between the kinetic and often exciting chase scenes, screenwriter David Koepp plays with every teen's yearning for a secret identity, and Tobey Maguire is charming as the insecure superhero.

Unfortunately, after the well-honed psychological melodrama of its first half, this wanders off into the metaphysical territory of Ingmar Bergman's "Persona" (a much better film).

Brooks' film is especially welcome now because it frankly admits that most Americans are ignorant about Muslims and have a lot to learn, in contrast with the few other Hollywood movies dealing with Muslims -- "Syriana," "Munich" -- which seem to suggest that non-Muslim viewers can emerge knowing the score.

Willis O'Brien did the stop-action animation for this 1933 feature, which is richer in character than most of the human cast.

Writer-director Gotz Spielmann (Antares) avoids the clutter and manipulation of most thrillers, escalating tension almost solely through the characters' turbulent emotions.