This has loads of swagger, but for stylistic audacity I prefer Anderson's more scattershot "Magnolia."

I don't know if Rob Reiner is the one to blame for this atrocity, but he directed and coproduced.

Conceived like a sports movie, this delivers passion, nuance, and historical insight along with unnecessary hokum.

If "Ratatouille" taught the world that rats have feelings too, Persepolis teaches the same thing about the people of Iran, who in the current political climate are probably in greater danger of being eradicated.

Like many fairy tales, this handsome family film concerns a child coming to terms with his fears and the death of a parent.

As creator and head writer of "The West Wing," Aaron Sorkin had a gift for making policy debate seem sexy, but what worked in the context of that liberal fantasy founders badly amid the realpolitik of this cold war drama.

Leave it to coproducer Jerry Bruckheimer to revive the Indiana Jones cycle without the period setting, the camp elements, or Spielberg's efficiency; director Jon Turteltaub just plods along, and the script by Marianne and Cormac Wibberley is equally poker-faced.

"B.S. I Love You" would be a more accurate title.

Well-crafted if relatively impersonal adaptation.

Apatow and director Jake Kasdan deliver a fair number of laughs, though nearly every good idea is pressed into service as a running gag. The biggest disappointment is their survey of rock history, which has all the depth of a Time-Life book.

A tedious movie about excitement.

The suspicion and contempt the band encounters along the way symbolize the Kurds' historical sufferings, but the movie has many comic moments courtesy of the eager bus driver, who keeps putting his foot in his mouth. The nonprofessional cast is highly persuasive under the sure hand of director Bahman Ghobadi (A Time for Drunken Horses).

Live-action stars take a backseat to CGI chipmunks in this uneven family comedy.

The popcorn elements are well handled, but what lingers is the sense of urban despair: watching old videotapes of the Today show, carrying on friendships with mannequins, Smith turns out to be no legend at all, just another New Yorker slowly dying of loneliness.

I'd recommend this, but only if you liked "The English Patient."

I'm all for bold screwiness, but this provocation seems labored despite the striking images.

Wretched yuletide comedy.

Individually these elements are powerful, but they fail to mesh or collide with one another in any satisfying way, and the movie's score only exacerbates the problem.

Atonement is that rare combo: a good movie based on a good book.

An innocuous, passably entertaining effects extravaganza.

Valerie Minetto's intelligent first feature deals with a lesbian couple, but the same-sex angle is refreshingly incidental to the story line.

This indie drama spends a lot of time mooning over classical Hollywood cinema, but its own visual style tends toward the pointless flash of music videos.

His (John Cusack) quickness and intelligence make him a poor choice to play the flat-footed main character, a rigidly conservative family man who can't work up the nerve to tell his two daughters their soldier mother has been killed in action.

The main compensation is Harrelson's well-judged and finely shaded performance; the secondary ones are the ladies he hangs out with -- Lauren Bacall, Lily Tomlin, and Kristin Scott Thomas. But the rest of this mainly drifts.

This 2005 feature offered me my first taste of Guy Ritchie's macho-centric artiness, and I hope it's my last.

Jason Reitman follows his pitch-perfect satire "Thank You for Smoking" with another adventurous comedy, though here the cleverness can be grating; the movie is distinctive for its complicated emotions.

he Diving Bell and the Butterfly fuses experimental techniques with a highly accessible and sometimes humorous narrative; it’s deeply personal yet universal in its humanism.

Pretentious and overconceived, the movie purports to celebrate self-determination yet squashes it at every turn.