There's enough adrenaline pulsating throughout this bang-up Marvel Comics adaptation to erase 2003's Hulk from memory (Ang who?).

The potential for moral confusion in a liberal-minded family -- unpacked so ruthlessly in Noah Baumbach's "The Squid and the Whale" -- is scrutinized with more ambiguity in this good-natured comic subversion of the holiday get-together.

Jensen's dramatic structure is so visible this sometimes seems like a late Rod Serling teleplay, but Bier has proved highly adept at merging conventional drama with the immediacy of the Dogma 95 movement.

Like "The Verdict," this is a big, crowd-pleasing Hollywood redemption drama in which the lonely hero not only thwarts the corporate villains in the end but silences them with a killer riposte.

This 2006 drama is refreshing not only for its gentle comic touches but for director Wang Quanan's refusal to sentimentalize China's vanishing nomadic culture: life is harsh and no one's a saint, including his outspoken heroine.

The period detail is more vibrant than the minimal story.

This is both melodramatic and overly tidy in its plotting, but its odd personal relationships are utterly believable.

Though marred by Spielberg's usual carelessness with narrative points, the film alternates sweetness and sarcasm with enough rhetorical sophistication to be fairly irresistible.

An Inconvenient Truth may not save the planet, but it's already gone a long way toward rescuing Gore's public profile.

Enjoyable action comedy from the Clint Eastwood mold, though the comic elements are more fun than the action.

The main reason I enjoyed this high-powered action flick and its 2001 predecessor is their willingness to poke fun at the premise of crime-fighting dolls, even though it now has more currency than ever.

The directors exercise their stylistic flourishes mainly in the imaginative sequences depicting the young daughter's trancelike state while she conjures up the correct orthography in the spelling bees her father's determined she must win, and while the film observes the same heartbreaking obsessiveness as the popular "Spellbound," it has none of that documentary's cuteness.

One of Claude Chabrol's most satisfyingly astringent films in years.

The same virtue doesn't apply to his commentary, which is too general to rise above the pedestrian; the movie works best traveling from the eye straight to the conscience.

By the time the fighting between clones and their originals turned to fraternal bonding, I was quite moved, even blissed out.

French filmmaker Agnes Varda returns to the guiding metaphor of "The Gleaners and I "(2000), her documentary about scavengers, though in this visually witty 2008 memoir she's poring over her own past and its artifacts--some of them people.

At once a light comedy and a reasonably serious meditation on the perils of fame.

Director Todd Phillips has become Hollywood's go-to guy for collegiate humor, and though this isn't as funny as his "Road Trip," "Old School," or "Starsky & Hutch," there are some choice sequences of the devious Thornton schooling his milquetoast students.

This is obviously a sincere undertaking, and there's a certain homemade charm to the special effects used in the combat scenes.

The most interesting moments, however, belong not to the chef but to those who labor in his shadow. "Jiro's ghost will always be watching," observes one interview subject as he imagines Jiro's eventual passing and its probable effect on his 50-ish son, who follows in his father's footsteps but will never be considered his equal.

Divided into sections bracketed by the arrival of each new DJ and is enlivened by the edgy yet trendy environment.

The scenes of family squalor are memorably persuasive, but any filmmaker ending her movie with the heroine throwing a crumpled poem into the ocean needs a few more writing courses.

This engaging, mostly improvised no-budget feature is based in part on Mandt's experiences, its loose narrative structure developing by chance as the duo encounter an assortment of characters on the road.

The underlying rhythms of repression and release are reflected in the film's visual line, with cool, controlled images suddenly giving way to aggressive flashes of liberating camera movement. The plot creaks a bit, and the character relations aren't exactly fresh, but all things considered it's a reasonably satisfying effort.

A fairly enjoyable piece of junk from Oliver Stone.

Chiwetel Ejiofor (Dirty Pretty Things) is the sinister operative dispatched to retrieve the ship's psychic passenger, who as played by Summer Glau kickboxes better than Maggie Cheung and Zhang Ziyi combined.

This tender and funny feature benefits from an appealing cast--in particular Stadlober, who brings depth and honesty to what could have been a formulaic coming-out chronicle.

It's also about pain, which both tempers and complicates the eroticism.