The whole thing feels throwaway, but some of the gags are funny.

Like Costa-Gavras's "Amen." (2002), this German drama uses a true story to examine the Catholic church's response to the Holocaust, but it focuses less on institutional politics than on personal conscience and responsibility.

It abjectly collapses into feel-good nonsense.

Contemporary footage of sea creatures, reptiles, and insects serves to illustrate various chapters in our journey from the ocean floor to the megastore, and though the film's science isn't exactly rigorous, its photography and music are splendid.

The result is TV flavored, less a narrative than a haphazard succession of vignettes populated by crude stereotypes instead of credible characters.

Ken Hanes's witty script shows its origins in his stage play, with the repartee often a bit too thick and fast for the screen.

Two prequels' worth of scene setting pays off in the politically resonant Revenge of the Sith.

This is a deeply engaging portrait of a remarkable man and a brutally frank indictment of the West's moral cowardice in the face of a tragedy it could have prevented.

It did give me plenty of jolts and surprises.

There aren't any big laughs, but there's a steady supply of small ones, and with his overgrown-kid persona Ferrell seems more comfortable in a family comedy than, say, Eddie Murphy.

To boost this movie's rating to "worth seeing" would make me feel like a publicist or simply a dope.

Pierre Morel's diving, spiraling camera keeps pace with Yuen Wo-ping's rapid-fire fight choreography, all smartly directed by Louis Leterrier.

So clinically detached it borders on absurd.

A colorful cast whose combined energy lifts the story off the ground.

Arnaud Desplechin's best movie to date.

The elder Wexler keeps insisting that he won't sign a release for the film unless he approves of the finished product, so he must have been pleased with its brutally honest assessment of him as a gifted filmmaker who never realized his true potential.

Formulaic but fairly well-done.

Thoughtful and impressively mounted.

Isn't really a satire of Hollywood so much as a chance for Short's wealthy showbiz buddies (Steve Martin, Kurt Russell, Kevin Kline, Whoopi Goldberg) to poke very gentle fun at themselves and stick it to the press.

The result is flawed but frequently haunting.

It's a terrific story -- part mystery, part farce, part legal nail-biter -- with a last-minute reversal so bitterly ironic it could have been scripted by Billy Wilder.

Danish director Susanne Bier elicits wonderfully intimate performances from her actors, and this 2004 drama has so many genuine, low-key encounters it manages to overcome a contrived and familiar plot.

Pivots on the characters' racism and xenophobia, playing tricks with our own biases and ultimately justifying an extravagant array of coincidences and surprises.

The singing dolphins opener is a giddy prelude to an imaginative romp that's helped along in the slow patches by mind-bending visuals.

Of course the movie's real raison d'etre is watching Ice Cube tear up government facilities and blockades with a tank, spout Schwarzenegger-style kiss-off lines, and commandeer the kind of babes and high-tech cars that James Bond usually plays with.

The illicit lovers in this eerie South Korean drama communicate whole worlds without ever speaking.

Elon's documentary is fascinating precisely because its high moral tone is compromised by self-interest.

Absorbing thriller.