Bong's opening and climactic scenes, in which the old woman bops around to a dance tune amid a vast field of yellow grass, are typical of the movie's cockeyed poetry.

Director Paul Greengrass has applied his jumpy, tumbling visual style to action blockbusters with Matt Damon and serious dramatizations of political events. This Iraq war drama makes a game attempt to meld the two, though manufacturing thrills takes precedence over any kind of journalistic insight.

Director Jim Field Smith lifts his best beats from Judd Apatow, and his worst from "American Pie."

The families' hopes for a tasteful, upscale wedding are sabotaged by warring egos and low-rent, walking-stereotype relatives.

Allen Coulter (Hollywoodland) directed this morose and sluggish drama, which gets more mileage from Pattinson's anguished profile than from Will Fetters's thunderously overwritten screenplay.

As usual with Burton, the visuals are much better than the story, and Carroll’s characters are richly realized--especially Tweedledum and Tweedledee, poster children for juvenile obesity, and the raving Red Queen, played with razor-sharp timing by Helena Bonham Carter.

If there were any more cops on the edge in this arrhythmic, ham-fisted crime drama, Brooklyn would need a bigger edge.

Nothing to see here, keep moving.

Poor distribution doomed the original movie, though Romero has stuck around long enough to serve as executive producer of this respectable update by Breck Eisner.

Some have compared this French crime drama to "The Godfather," and though that may be a common critical touchstone, writer-director Jacques Audiard manages to replicate its most elusive element, not the dark comedy or the operatic bloodletting but the incremental corruption of a decent man into a willful, coldhearted killer.

Documentary maker Don Argott (Rock School) beautifully explicates how this crew pulled off the most daring daylight art theft in history, though his passionate identification with the pro-Barnes faction limits the movie's political nuance.

Drawn to these fumbling kids, Hurt gradually opens up about his one great, tragic love (Maria Bello), but any catharsis is circumvented by his floundering costars and their risibly cornpone dialogue.

What Scorsese brings to the table, having created more than his share of rascally villains, is a renewed sense of horror and despair at the power of evil.

Jeb Stuart directed, his well-rounded portrait of the community partly undermined by the slack editing; with Rick Schroder as the minister and Michael Rooker as the defense attorney.

This is a polished, palatable intrigue, with a knockout performance from Olivia Williams as the PM's hardened wife and a highly persuasive one from Kim Cattrall, cast against type as his buttoned-up personal assistant. But the mystery is unraveled a bit too conveniently.

Any movie that name-checks Ford Maddox Ford's novel "The Good Soldier" is OK by me, and clearly writer-director Julio DePietro has made a careful study of Ford's crafty, illusory narrative.

Lichtenstein dutifully unpacks the family's unhappy past, but he's so easily distracted by surreal dream sequences and colorful supporting characters that his main story gradually dries up into a sitcom.

This is fairly satisfying, particularly a ghoulish episode in a Victorian insane asylum.

The gods, led by Sean Bean, are mostly stiffs; thank heaven for Uma Thurman, raising hell as a stylishly leather-clad Medusa.

Valueless as entertainment, it’s still useful as a disambiguation tool for those who confuse Jessica Alba and Jessica Biel, or Taylor Dayne and Taylor Swift.

There's rancor here, but also unexpected tenderness.

This terminally sappy romance delivers heartache, sacrifice, a make-out scene in the pouring rain, and not one but two autistic characters.

This sequel to the French actioner "District B13" (2004) offers more of what made the original such a sublimely stupid pleasure.

No movie star appears to have more fun in a crap movie than John Travolta, and his inimitable my-check-has-cleared! glee is the best thing about this lame espionage thriller.

A stuck chairlift just doesn't exert the same primal terror as a roiling sea, and to make up the difference, Green would need a better cast and sharper dialogue than he has here.

Lurid and stylish, this 2008 Danish feature plays like a cross between "The Postman Always Rings Twice" and "High Noon," with a dash of Gothic thriller.

Shani and Copti (who costars as a hipster druggie) elicit moving performances from their nonprofessional actors, who ground the somewhat breathless action in a streetwise realism.

Martin Campbell directed, displaying none of the flair that made his “Casino Royale” such a hoot.