Wittily written and deliciously acted, Lonergan's debut film is a clear cut above the average.

Crash-lands as disastrously as the heroes and never quite recovers its wits.

Gooding and De Niro bring their characters to vivid life despite the unsubtle screenplay and hyperactive music score.

This offbeat Chinese production is at once an innovative art film, a traditional suspense yarn, and a moody voyage through Shanghai's gritty back roads.

The trouble lies in its stereotypical style, its schmaltzy emotionalism.

Glover and Bassett play the title characters with great energy, and Berry has invested the movie with the moral conscience that underpinned his entire career.

Both a blood-churning war movie and a mind-stirring antiwar movie, focusing not on guts and glory but on the stark realities of real battlefield experience.

Too bad the action scenes rarely rise above standard kung-fu comedy, diluting the film's otherwise considerable entertainment value.

Green tells the tale through leisurely, eye-catching shots that allow the young cast members to imbue their characters with striking credibility and intensity.

Baye gives a stunning performance in the central role, backed by a first-rate supporting cast.

Splendid acting, a screenplay as likable as it is unpredictable, and an undercurrent of deep human generosity make this a particularly engaging comic-dramatic experience.

A few mildly amusing gags don't outweigh the trite situations and mean-spirited attitude of this comedy.

The tale is simply told but stunningly photographed and superbly acted in the best tradition of modern Iranian cinema.

The satire is intermittently amusing, but Arcand adds little to the arsenal of standard mockumentary tricks, and the interesting cast doesn't get many interesting things to do.

Downright awful.

Many times more African than "Tarzan" and "The Lion King" combined, Kirikou and the Sorceress is one of the best movies so far in this very young year.

Rarely does a movie combine so much genuine human drama with such vivid exemplifications of "identity politics" and other sociocultural issues.

Quite funny and eye-catching.

The cast is just right for this mini-"Godfather" yarn, and Gray's filmmaking is generally on target even if it does tend to dawdle along the way.

The comedy isn't quite as crude as it sounds, but there's not much of value here beyond a little lively acting.

You'll enjoy this sentimental drama if you feel good intentions are their own reward, at least where movies are concerned; but it'll exasperate you if you want your entertainment to have some connection with the world we actually live in.

Some will dislike its shaggy-dog screenplay and restless camera work, and others may find its finale too postfeminist for comfort.

Buscemi's directing blends hard-hitting visual qualities with great emotional energy.

Trumpets the worthwhile message that ballet is just as manly and athletic as any other masculine activity - and maybe a touch more so, if you have to defy an uncomprehending community in order to pursue it.

Preposterous plot, bad acting, and dialogue that provokes more laughs than shivers.

The story is so calculated that it ultimately bears little relation to the real world.

De Felitta dodges the temptations of sentiment and preachiness.

Yang favors a gentle and introspective style that shows how deep and strong everyday emotions can run. A memorable treat.