Those needing their Irish fix will be satisfied and no doubt will leave the theater in far greater spirits.

This chamber drama is a deeply felt and oddly moving reverie on death and the process of taking stock of one's life.

Rookie writer-director Dylan Kidd, late of NYU film school, knows how to get the best out of jittery, handheld camera shots, and he knows how to go for the jugular. Roger is the bleakest comic portrait of misogynist self-delusion we've seen in a long time.

In her first major role, Ferrera is amazing -- It is a wonderfully natural performance. To top it all off, she and Ontiveros are completely believable as mother and daughter.

Like all good concert films, it's the next best thing to being there.

Rich in story, character, and design, The Cider House Rules is obviously a collaborative effort, but above all it is a triumph for director Hallström.

Mostly, Mysterious Skin creeps you out, and not in any kind of fun way. There's an artfulness to it, but it's hard to imagine many viewers actually using the term "enjoyed" or "entertained" in conjunction with it.

This is probably the funniest Mamet piece to date (but not the weightiest), and it might be destined to take a seat alongside "The Player" and "Sunset Boulevard" in the front row of movieland satires.

If you're the sort who enjoys shedding such in darkened theaters, your must-see summer movie has arrived.

This is a beautiful, important film, and you should see it.

The movie is smart, funny, romantic, and rousing.

Through hilarious and charming interviews with the kids, extended chat sessions with Green, a few words from parents, and a healthy dose of performance footage, we get a sense of what sort of community Green has created, for better and worse.

Packs an unexpected emotional wallop. Gavin Hood's film tells a story of violence and redemption that's even more remarkable when you consider that neither of the lead performers had ever acted in a movie previously.

It's a movie about discomfort and distance, like an episode of "Curb Your Enthusiasm" or "The Larry Sanders Show" shot in deadpan black-and-white.

Emotionally powerful.

Undeniably interesting, but not entirely successful.

Although Afterglow bears the lyrical slow-zooms, tracking shots, and idle character development Rudolph learned while working as an associate director on such Altman classics as Nashville (where he first met Christie), it's safe to say that much of the film's strong critical reception is due to the director's showcasing Christie's undiminished movie-star grace so reverently.

A vivid double portrait of the artistic sensibility in its many weathers -- expressed by two fine actors clearly engaged in a labor of love.

A surprisingly good film, not quite original but smart, careful and steadfast in its dedication to its characters.

What Constantine offers is a deceptively thoughtful tale tricked up like an action movie; it's beautiful to look at but even more lovely to ruminate over.

One of the best of the many delights of director Michael Hoffman's new film -- is that he manages to have it both ways -- the gauzy fantasy and the bacchanal.

For Jordan, this is a return to top form.

It's but a witty, engaging hodgepodge of archetypes and clichés; it retreads not only the TV show's story lines, but also those of every "Star Trek" and "Gunsmoke" episode. It needed the room of a big screen just to fit all of its influences into a single place.

Arenas' story is a downer that doesn't produce despair. That's because of the exceptional bravery of Arenas himself, and the understanding that both Schnabel and his extraordinary leading man, Javier Bardem, have of him, his world, and his time.

What's wonderful about director Claude Miller's adaptation of Ruth Rendell's novel "The Tree of Hands" is its grand capacity for compassion and complexity.

It's hagiography, yes, but also powerful and poignant.

Breezy and easy to swallow. Its maker, Steven Spielberg, hasn't had so much fun in two decades.

What could have become a heinous TV movie instead delivers the moving and relatable experience of being an emotionally overburdened person stuck in a world that mostly sucks.