This engrossing documentary widens to consider the phenomenon of viral videos and the humiliation they can bring to their sometimes unsuspecting victims.

As it turns out, what's going on is yet another cinematic rip-off, this time of “The Exorcist.” Apparently rec stands not for record but for recycle

This 2009 feature is as precious as it sounds but also irresistibly charming. If you’re a newcomer to the oeuvre of New Wave hero Jacques Rivette, this is a highly accessible port of entry.

Though The Kids Are All Right sometimes smacks of political correctness, Cholodenko succeeds brilliantly in making her little clan seem completely run-of-the-mill.

Director Daniel Alfredson grounds the mystery in a real sense of place: his Stockholm looks and feels like a major city where corruption lurks behind attractive facades. The reporter character is better developed than in the first movie, but most of the supporting characters from the book have been shrunk to little more than walk-ons.

The current national priorities should be as follows: reduce carbon emissions and stop funding the films of M. Night Shyamalan.

As werewolf Jake, Taylor Lautner does his best to salvage things by showing his bare chest through almost the entire movie, and the rest of the cast struggles gamely, but the script sucks the life out of them. This is definitely the worst installment of the franchise to date.

Director Taylor Hackford ("Ray") seems to be aiming for a big "Boogie Nights" social canvas, though the movie's risible prize-fight sequence is more reminiscent of the later "Rocky" sequels.

Beneath all the forced hilarity lies an awful fear of aging--and Sandler is only 43! This is gonna be rough.

The movie premiered in January at the Sundance Film Festival, too soon to include a tragic denouement: in April the U.S. command surrendered the Korangal Valley to the Taliban.

Dogtooth, a bizarre black comedy from Greece that won the Un Certain Regard prize at the 2009 Cannes film festival, involves a conventional middle-class family--mom, dad, teenage son, two teenage daughters--that turns out to be warped beyond belief.

The famously oblique French director Alain Resnais (Last Year at Marienbad) won a special award at the Cannes film festival for this existential comedy (2009), whose masterful technique fails to compensate for its glassy characters and mercilessly self-amused tone.

Cruise and Diaz have worked together before (in Vanilla Sky), but this is their first summer-movie pairing, and their star qualities are so similar--dazzling looks, good comedic chops, complete emotional vacuity--that together, instead of romantic chemistry they generate a sort of giddy, blinding falseness.

The result, messily directed by Jimmy Hayward, begins affably enough as a random slew of Leone-style squint-a-thons and shoot-outs but then loses it way in a dopey, anachronism-happy sci-fi plot.

As the furiously passive-aggressive title character, Jonah Hill delivers a craftier comic performance than anything in his box-office hits (Superbad, Get Him to the Greek), but what really elevates the story above its shticky premise is the combined neuroses of all three characters.

A chaotic sequence midway through shows Mormon and gay-rights protesters shouting abuse at each other in San Francisco, and that's pretty much what the whole movie feels like.

The grand architecture of Milan and the icy rhythms of composer John Adams set the tone for this elegant Italian drama about the suffocating power of family, wealth, and tradition.

Directors Turner Ross and Bill Ross IV, brothers and native sons of Sidney, find poetry in images of the mundane.

Like her previous feature, "Look at Me" (2004), this relationship drama is mature and intelligent, but the character conflicts are so decorously handled that after a while the whole enterprise begins to seem more like a good waiter than a good story.

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

This is a smart departure for Chan, who's been wasting his talent in mediocre comedies; the other actors don't fare as well. The plot takes forever to get rolling, and the movie is hamstrung by numerous tourism sequences.

Carnahan stays true to the source material by delivering carnage without consequence (the machine gun-toting bad guys still can't hit a barn from the inside), his convoluted plot and multiple villains may challenge the attention span of the target demographic.

Rivers comes across as a consummate professional but also a genuine person, ruthlessly honest about her life decisions and utterly devoid of self-pity.

Winter's Bone often seems to be unfolding in a world apart, with its own moral logic and codes of conduct. It might feel like prison if it weren't so obviously home.

The film would have been more satisfying if director Jan Kounen (Darshan: The Embrace) had shown more of the ferment of the times.

Echoes of James Whale’s Frankenstein movies reverberate through this creepy Canadian sci-fi tale, whose innocent, confused beast is alternately terrifying and pathetic.

As in "My Favorite Year," the laughs all come from seeing a nervous innocent pulled into the star's debauchery, the heart from our growing realization that debauchery is just emptiness with the volume cranked.

Free of grandstanding and sentimentality, this powerful 2008 documentary follows missions to Liberia and the Congo undertaken by volunteers for Medecins Sans Frontieres.