Crushingly dull teen horror flick.

Gyllenhaal turns the young ex-con into an enormously sympathetic figure, but by the end there's no denying that her need for the girl is as selfish as her addiction.

The movie's realism is unimpeachable, though American cops might be stunned by the idea of a half-dozen detectives being assigned to the murder of an anonymous floater.

This is somewhat fuzzy as narrative, but it's a potent mood piece, and its portait of urban loneliness has some of the intensity of "Taxi Driver" without the violence.

Predictable but sincere.

This Argentinean comedy is short on plot and leisurely in its character development, though by the end it's become a modest and genial portrait of a dysfunctional family.

Endorsed by the Dalai Lama and narrated by his nephew Tenzin L. Choegyal, this delivers an impassioned plea to save Tibet's endangered culture but little new information.

Keith is an awkward, galumphing presence, but he's more fun to watch than Kelly Preston as the girl's uptight mother.

This is one of those movies whose empty-headed premise is so pure it's witty: with his insatiable need for excitement, the hero is a perfect stand-in for the fanboys in the audience.

A real air ball, this lethargic drama by Preston A. Whitmore II is so poorly scripted that most of the major plot developments occur offscreen.

For this remake writer-director Neil LaBute has moved the action from Scotland to Washington State, added enough scares for Warner Brothers to market the movie as horror, and turned the story into an almost comically Wagnerian expression of the castration anxiety that snakes through his original screenplays.

It's a welcome throwback to the carefully crafted family films of the studio era. The scenery is lovely, and the cast is entirely worthy of the enterprise (including the regal and athletic star).

One of Bujalski's gifts is his ability to give every part, no matter how big or small, a sense of intelligence and life that extends beyond the frame and running time, and in this his work recalls the best of both Mike Leigh and Richard Linklater.

The main activity charted in the documentary is a kind of adolescent mischief, as Dick and a private investigator seek to uncover and expose the anonymous MPAA employees.

Judge races through some of his most provocative ideas in the opening minutes and ignores his story's many logical inconsistencies; the movie is bracing for its bile but ultimately more frustrating than funny.

This gets off to a pretty good start, with most of the laughs coming from beefy Kevin Heffernan and nerdy Steve Lemme. But at 111 minutes, the movie is too slackly paced to build up enough momentum; like the characters they play, these guys don't know when to call it a night.

Director Bryan Barber (known for his music videos) and his cast display so much gusto that it's hard to keep up your resistance--I wound up finding this more enjoyable than the Oscar-bestrewn "Chicago."

The movie gathers steam as these little terrors up the ante with each new gross-out recipe. Former child star Hallie Kate Eisenberg, blooming into a beautifully poised young woman, grounds the film as Benward's loyal supporter.

The genre shows serious signs of wear in this needlessly fictionalized feature about Vince Papale.

With its pathetic characters, questionable logic, and wall-to-wall Beethoven, the movie is a serious contender for this year's Golden Turkey award.

This Spanish comedy showcases a gallery of popular actresses, but writer-director Manuel Gomez Pereira gives them nothing to work with aside from tiresome romantic complications.

Its labored goofiness seldom transcends the stale format.

The plot of this character-driven drama is slender and the digital images rather muddy--apparently an impoverished indie feature can look bad and still not be very interesting--but to his credit, Thelemaque sticks to his minimalist turf. And the dogs are great.

The plot is ridiculous and the characters are cardboard, but none of that really matters once the snakes get into the cabin and start zapping people, the very definition of entertainment.

Sublimely stupid.

A lush piece of romanticism.

Painfully unfunny comedy.

Despite some fine black comedy, this hovers uncertainly between the novel's tragic precision and "Barfly's" existential burlesque.