If you can tolerate 79 minutes of joggling images you’ll probably find this entertaining, though writer-directors Jaume Balaguero and Paco Plaza overplay their hand with a late-breaking back story that rips off one movie too many.

The mainstream acceptance of porn has also disarmed Smith's formerly outrageous humor, though there's a warm "Boogie Nights"-style vibe to the little family of oddballs Zack and Miri recruit to help them.

This early Hitchcock film shows more signs of the artist to come than any of his other British movies, pointing forward in particular to the deep sexual themes of Marnie and the remake of The Man Who Knew Too Much.

Writer-director Richard Brooks had a flair for sensationalism, and his adaptation of Evan Hunter's novel is loads of fun as a consequence, but don't expect much analysis or insight.

Hitchcock was incapable of making an uninteresting film, even when burdened with unsympathetic stars like Julie Andrews and Paul Newman, and Torn Curtain has its moments.

Much more deserving of plaudits is the secondary cast--Hope Davis as Schmidt's resentful daughter, Dermot Mulroney as the waterbed salesman she's engaged to, and, above all, Kathy Bates in a hilarious turn as the latter's New Age mother.

Potential irony is everywhere in this movie's subtly surreal situations and candy-colored imagery.

This French comedy fondly lampoons both the popular French spy movies adapted from Jean Bruce's novels in the 1950s and '60s and the colonialist era they were set in.

Vigalondo explores it (time travel) just enough to keep this thriller moving, and Karra Elejalde is entirely convincing as the unwilling time traveler, who finds himself threatened by not only his past self but his future one as well.

This funny, nervy, and pointedly unrated geriatric sex comedy is both enhanced and occasionally limited by being targeted at baby boomers.

Far from avoiding the tackier implications of this concept, the film revels in them like a puppy in clover; Martin's delivery of the line, "Into the mud, slime queen!" is alone nearly worth the price of admission.

Much of this fractured drama and dark fantasy takes place inside the mind of Charlie (Futterman),

Michael Keaton is a stitch as an emasculated police captain moonlighting as a retail store manager.

The movie is so clever and smoothly paced that it's easy to overlook the odious story line.

Although this shares some of the acidity of Thatcher-era films, it owes more to David Lean's "Summertime" in its generosity toward an aging heroine who learns that any second chance is fraught with risk.

Shirin Neshat, best known for her video installations, makes her feature directing debut with this elegant, often moving story of four Iranian women trapped by their circumstances in the turmoil preceding the 1953 coup.

Despite occasional patches of hokey dialogue, this drama by writer-director Craig Brewer is solid and genuinely uplifting.

Playwright Adam Rapp, making his feature debut as writer-director, details the family dysfunction to the point of hyperbole, but over the long haul he rewards one's observation and intelligence and a more interesting story emerges.

Credit production designer Therese DePrez and set decorator Clive Thomasson for the marvelous setting, a charmed building with a life of its own.

Word Wars does a better job of capturing the players' various idiosyncrasies.

Frankenheimer handles it tersely and professionally, and coaxes an exceptionally good performance out of Harry Dean Stanton as an American general.

Some say that the revolt was initiated by black and Latino drag queens, a fact not presented here, but there are affecting moments.

The movie includes some tony philosophizing about the conflict between science and faith, but it's mostly a beat-the-clock chase through Rome (nicely evoked in Salvatore Totino's lush cinematography).

Doesn't make a lick of sense, and its borderline racism and sexism will offend plenty of people. But comedy is all salesmanship, and these guys sold me; their giddy nonchalance reminds me of kids competing to crack each other up at bedtime after mom has given them Pepsi with dinner.

Scafaria, making her feature debut as writer-director, scores numerous laughs off the social dislocation that follows as people realize the apocalypse is imminent (there's a funny sequence at a suburban house party where no taboo goes unbroken).

Gripping drama.

The period ambience (call it funk) is irresistible, but the main points of interest here are sociological rather than musical.

Parts of this are screamingly funny, other parts downright stomach turning, but you have to admire the fact that, for these guys, "anything for a laugh" really means anything. And for all the moronic behavior, there are also some inspired dadaist moments.