There are fewer jokes this time around, and Moore makes a point of not even appearing on-screen for a good 40 minutes, putting more emphasis on his arguments and less on his comic persona.

Superbly rendered CGI animation.

Despite the show-offy cast, it took me a while to warm to these people and their self-consciously idyllic settings--as well as to the slick direction of former cinematographer Lajos Koltai--but I was eventually won over.

Celebratory, family-friendly fable.

The physical stunts by Maggie Q as a lethal martial arts expert and Cyril Raffaelli as a Eurotrash sniper who rappels buildings are more thrilling than the over-the-top chase sequences, so contrived as to verge on self-parody.

Kim keeps dialogue to a minimum and provides the barest of story arcs, using a handheld camera to probe subtle shifts of emotion in her nonprofessional actors.

Adapted from a Stephen King story, this trite but watchable chiller plays like a scaled-down version of "The Shining," with Cusack driven over the edge by hallucinations of his abusive father and dead daughter.

Freeman's God is a mix of Old and New Testament, with a dash of both sexism and sitcom; Carell's Noah is a political fool, but that only proves he's honest and sincere. This is idiotic, but it's so good-natured I didn't mind.

Functions primarily as a suspense film, and it manages to be gripping even though the outcome is already known.

Stunning vistas of New Zealand's rolling countryside aren't enough to carry this lame 2006 horror spoof.

How Posey's neurotic, self-destructive heroine finds her way to healing is the core of this generous film, whose moral is that happiness can't begin unless you're open to its possibility.

A masterful 168-minute piece of storytelling that never ceases to be gripping in spite of its measured pace.

Few recent films have left me feeling more conflicted than Valeska Grisebach's second feature (2006), which is sensitive, moving, accomplished in its extraordinary direction of nonprofessional actors but also a little bogus.

Even if you can't accept all the movie's left curves, you might still be amused.

The same virtue doesn't apply to his commentary, which is too general to rise above the pedestrian; the movie works best traveling from the eye straight to the conscience.

This sequel to "Fantastic Four" (2005) drags in the Silver Surfer, who looks like a gigantic hood ornament and, given voice by Laurence Fishburne, has about as much personality.

The postmodernist evocations of the past (roughly the 50s through the 80s) are a charming mishmash, delivered with wit and style.

The movie's idea of funny is giving the two lovers identical moles bordering their upper lips.

Thoughtful, sexually charged, and sometimes brutal, this Australian drama by director Geoffrey Wright updates the setting of Shakespeare's play but stays true to its themes, offering fresh insight into the characters and verse.

Predictably adolescent and smarmy, with the mix of sentimentality and cynical flippancy that's becoming Steven Soderbergh's specialty (even when he's pretending to make art films), this is chewing gum for the eyes and ears, and not bad as such.

The novelty wears off almost immediately, leaving this a real chore to watch; there's something bizarre about low-budget spontaneity being replicated in such a labor-intensive medium.

Marion Cotillard tears up all the available scenery in this overblown, achronological biopic of French pop singer Edith Piaf.

I came to this expecting a standard rock doc, but its cobwebbed tale of an aged parent and grown child's debilitating relationship seems closer to "Grey Gardens."

Part of the minimalist humor growing out of this small-scale event is that they can barely remember anything, because the revolution scarcely made any difference.

The genuine sense of loss and nicely observed family details don't stand a chance against the generic buildup to the big game.

Funny, honest, and generous, this is mainstream American comedy at its best.

This is one of those slick, violent, ridiculous Hollywood jobs that make little sense as a story, a comment on life, or a depiction of characters, but are moderately enjoyable in their spinning of movie conventions. There's even a good De Palma-style fake shock ending.

Klores and Stevens don't have much to work with visually besides talking heads, old photos, news clippings, and stock footage, but with a narrative this insane, that's more than enough.