The remake begins with the same premise and appropriates the most striking visuals, grafting them onto a more explicable but equally dull George Romero-style doomsday scenario.

Any guy who sits through this date movie deserves to get to third base at least.

A dedicated, charismatic, crack-addicted history teacher is the most believable protagonist in an American movie this year.

This French variation on the backwoods horror movie proves that even a little thematic complexity in the early scenes can yield a substantial payoff when things get going.

This pretentious 2005 art movie is somewhat interesting for its wide-screen photography of the striking locale, but the storytelling is awkward and confusing.

Director Zak Tucker is a bit too fond of jump cuts as signifiers of edginess. Still, when the material doesn't get in the way he's pretty good at getting across the emotional content.

I don't question the legitimacy of celebrating the courage of these individuals and their families, and I can even tolerate the hokey nostalgia for World War II epics. But I'm troubled that the filmmakers have elided so much else of what happened on that day, as if it were some kind of neutral backdrop.

Weird anachronisms (cars, telephones, home computers) contribute to the craziness, but despite the copious imagination on display, this is a fairly long haul.

This intermittently effective UK horror thriller carefully establishes the psychological relationships among the women, then squanders this calibrated and generally plausible setup with a series of crude, implausible, and scattershot horror effects.

The CGI is excellent, with characters whose depth and solidity suggest Nick Park's clay animations.

The movie's suggestiveness gives way to a certain thinness and lassitude.

Unlike many other purveyors of hip comedy, they're consistently clever without being contemptuous of their audience.

This 2004 French feature seems concerned not so much with the psychopathology of everyday life as with psychopaths who lurk behind the everyday.

As a substantial piece of the puzzle, this is worthwhile viewing.

Despite some awkwardness, this feature by writer-directors Richard Glatzer and Wash Westmoreland is a fascinating look at the area's Mexican-American milieu and other local subcultures, full of feeling, insight, and touching performances.

This funny, nervy, and pointedly unrated geriatric sex comedy is both enhanced and occasionally limited by being targeted at baby boomers.

Apart from a few sleek shots involving boats or helicopters, the action eventually devolves into a standard war-movie shootout.

Allen doesn't get us to care much about any of the characters here.

Betty Thomas, directing a script by TV veteran Jeff Lowell, seems uncertain whether to sympathize with her three heroines or with the title cad, but there's something mildly charming about this cheerful revenge comedy's lack of any straightforward moral agenda.

Based on John Nickle's children's book, this computer-animated comedy starts slowly but builds into a rousing adventure capped with just the right measure of sweetness.

13 (Tzameti) might seem allegorical, but it’s too cynically concerned with what works as entertainment to offer larger truths about human existence.

Provocative but also infuriating, this alarmist documentary argues that the levying of a federal income tax in 1913 was unconstitutional and set America on the road to fascism.

The word "raunchy" doesn't begin to describe this.

Directors Keith Fulton and Louis Pepe (Lost in La Mancha) are too preoccupied with hip cleverness to have much else on their minds, and the music is so-so.

This quirky 2004 documentary ends with the Shopsins' forced relocation after 32 years, an uprooting made all the more poignant by Eve's death during filming.

As scripted by Michael Arndt, this isn't much more than a glorified sitcom, but it deftly dramatizes our conflicting desires for individuality and an audience to applaud it.

Scenes of pageantry and mass prayer show that thousands respond to her charisma, but Kounen gives little insight why; aside from Amma's belief that creator and creation are one, her religious tenets remain a mystery.

The documentary becomes more poignant and substantial when old age begins to seriously disable some of the dancers.