Singh is much more skilled as a visual artist than a storyteller, and his artistic fortunes seem to rise and fall with the inspiration of his screenwriters. In this case he's lucked out with Mellissa Wallack and Jason Keller, whose witty script retells the story of Snow White from the perspective of the wicked queen.

[Farrellys'] great achievement is forcing those of us addicted to eye candy to see we have a problem.

Even as the SF cliches fall fast and heavy, this is great to look at, thanks to the sumptuous MGM sets and the fine animation and matte work by Walt Disney Studios.

Sylvester Stallone's follow-up to his runaway success of 1976 is a little more threadbare in spots than the original, but it still has some conviction and spunk.

Wain and Marino try to tie all this together with a framing narrative about an unfaithful husband (Paul Rudd), which turns into a clever parody of Woody Allen movies.

This heart-warmer by Robert Benton has some of the tender wisdom and humor of his other features (e.g., Nobody's Fool).

A funny, offbeat superhero flick.

Funny, suspenseful, and well paced, this is definitely the summer's best time waster.

The results may seem overripe and dated in spots, but she coaxes a fine performance out of Nolte, and the other actors (herself included) acquit themselves honorably.

The film is absorbing enough as an intimate family portrait, complete with friction.

The movie loses credibility with the arrival of Rogen and Bill Hader as two uniformed patrolmen who are drunker and crazier than any high schooler could ever get, but the variety of complications thrown at the three pubescent heroes raises this a cut above most raunchy comedies.

Masterfully charted and adeptly played, but also rather minimalist.

Amiable screwball comedy.

This film doesn't really clear the bar, but it's handsomely mounted and proves that heartless manipulation of the weak and gullible never goes out of style.

Glen's style...goes for the measured and elegant over the flashy and excessive.

The survival drama is genuinely exciting, and the players, both human and canine, put this across with spirit.

The thriller plot, while serviceable, registers as somewhat gratuitous, but the Buenos Aires locations are nicely used.

Apart from some softening of the extreme violence (through manipulations on the sound track) and some fancy intercutting, this is every bit as unpleasant as Olmos can make it, but occasionally edifying as well.

This is good, solid work that never achieves either the art or poignance of Van Sant's earlier and more personal projects.

They're all instructive and interesting in one way or another, and they're indispensable viewing for residents of isolationist, or at least isolated, countries such as this one.

Visually commanding, conceptually beguiling, but dramatically inert.

The documentary begins to lose its shape as Siegel ponders the spiritual and cultural impact of the honeybee, but it does succeed in flagging a potentially critical problem.

If the plot seems overly familiar, Lasse Hallstrom at least directs the action with conviction and style, and his drama is greatly abetted by the scenic big sky locales.

Agnieszka Holland (Europa Europa, The Secret Garden) directs with obvious feeling rather than cynicism, and I was swept away by it despite the story's anachronisms.

This 1956 feature, a casual yet meticulously detailed reconstruction of Japan’s routinized white-collar milieu, was Yasujiro Ozu’s first film after the exquisite Tokyo Story, as well as one of his longest works.

The film never transcends the racist, sexist, neofascist implications of its base material, but it works entertainingly within them, and even manages a bit of auto-analysis in John Candy's ironic, adolescent narration of the "Den" episode. Better than it had to be, for which some honor is due.

Definitely worth checking out.

This may not be a solid biography, but it feels true.