If you're up for good nihilist entertainment, look no further.

Diary of the Dead features some of the most hilariously gross images since "Dawn of the Dead." In one online video the filmmakers find, a father playfully pulls off a birthday clown’s red rubber nose and the guy’s real nose comes off with it.

This nuanced coming-of-age drama by Cao Hamburger exudes warmth without getting mired in nostalgia.

This highly uneven comedy by writer-director Adam Brooks might be easier to take if it were less infatuated with its own cuteness.

Like so many other CGI behemoths, this dull action fantasy ultimately squashes rather than inspires one's sense of wonder.

Meticulously rendered CGI creatures--from Arthur Rackham-esque flower sprites to a troll that could have sprung from "Jurassic Park"--spike this dark adventure, shot marvelously by Caleb Deschanel.

Kolirin has a fine sense of where to place the camera and when to cut between shots for maximum comic effect, and his two lead actors--Sasson Gabai as the band's conductor and Ronit Elkabetz (Or) as one of the locals--are terrific.

Sorry deep-sea adventure.

The movie gradually deepens from odd-couple comedy into Catholic-themed drama, but it remains marvelously funny throughout. Instead of hitting the easy notes of black humor, McDonagh skillfully modulates between broad character laughs and the men's piercing anguish as the story nears its bloody conclusion.

A good concert film might have been culled from Vaughn's 30-date LA-to-Chicago tour in September 2005, which showcased stand-up comedians Ahmed Ahmed, John Caparulo, Bret Ernst, and Sebastian Maniscalco and included bits with Vaughn, Jon Favreau, Dwight Yoakam, Justin Long, and Keir O'Donnell. But this is more like a DVD extra for that film.

A few laughs and a lot of hyperbolic shtick make this a little better than formulaic before the standard-issue resolution.

Playing a competitive schemer not unlike her "Desperate Housewives" character, Parker doesn't generate much heat, while Rudd is squandered in a bland role.

Lior is an irrepressible character as he works a room, doing exactly what a bar mitzvah boy should: challenging, instructing, and, in his own way, healing the world.

Aside from the waste of a talented cast, the only thing that really caught my attention was the tomblike silence of the audience--at least until the bong jokes started.

This transcends the usual stodginess of period pieces with crucial historical testimony, delivered with verve.

The orgy of violence, as ghastly as in any video game, should go a long way toward erasing whatever goodwill Stallone earned with his sentimental "Rocky Balboa."

Produced by MTV Films, this step-dancing drama is mired in cliche, but with its dingy ghetto settings and hardened, despondent young characters, it's marginally more interesting than "Stomp the Yard," the 2007 movie that inaugurated the subgenre.

By now the hypocrisy of simultaneously condemning and exploiting the audience's sadism has become so commonplace in American movies it hardly seems noteworthy.

In a truly great movie the form becomes indistinguishable from the story, and that’s certainly the case here.

The 3-D element is unobtrusively handled, except when it perfectly re-creates the woman who's always perched on her boyfriend's shoulders in front of you at a concert.

Lou's mobile camera captures the flushed energy of the faces and bodies of beautiful youths in love with all the verve and commitment of the early French New Wave.

After making his best and smoothest drama (Match Point) in England, Woody Allen returns there for one of his most clueless and awkward, outfitted with a standard-issue Philip Glass score.

The narrative conceit requires a fair amount of indulgence as the story progresses, but the fleeting, incomplete glimpses of the monster early on prove the old dictum of B movie auteur Val Lewton that a momentary image can have greater impact than a prolonged one.

This lame comedy was adapted from a recent British TV movie, though its (quite literal) money shots of the women squealing and hurling cash in the air reminded me of 80s greed capers like "Trading Places" and "A Fish Called Wanda."

This 2006 drama may seem to be worlds apart from the surreal theme-park setting of Jia's previous film, "The World," but there are similarities of theme, style, scale, and tone: social and romantic alienation in a monumental setting, a daring poetic mix of realism and lyrical fantasy, and an uncanny sense of where our planet is drifting.

For most of this romantic comedy, fatuous contrivances run neck and neck with what seem to be authentic observations about repressed sibling rivalry; some of the latter are too painful to be funny, and eventually the contrivances win out, but the cast keeps it all watchable.

A triumph not of reporting but of synthesis.

This heist comedy has a hackneyed introduction, and its feel-good ending lacks credibility, but the big, funny chunk in the middle marks writer-director-producer David E. Talbert as a talent to watch.