The films, both narrative and nonfictional, range from the engagingly elliptical...to the simple-minded... to the cloying and incomprehensible.

Though The Cup is lovely to look at, it has none of the ceremonial rigor mortis of Scorsese's "Kundun."

What's most disturbing about this ineptly scripted, utterly implausible (and at the same time curiously likable) comedy of sin and redemption in TV's home-shopping universe is how close a committed cast and a talented director (Stephen Herek, late of Mr. Holland's Opus) come to pulling it off, to making us feel good about the 110 minutes or so we've just pissed away.

A spirited re-creation of the series that once ruled Saturday mornings.

Egoyan has always constructed dense ensemble films, and here again the writer-director hopes to reinforce his themes by piling layer upon layer of character. Unfortunately, the layers end up cluttering the story.

The movie is not without charm or humor, but it leaves little for Lane to do besides chuckle at setbacks as if they were naughty children.

What gives the movie its coltish charm is Harrison's scene-setting feel for the indomitable brio of kids.

The rough, watercolor washes of its city backdrops mark the film with nostalgia while its story carries us along at an amiable, buoyant pace.

Does have its charms.

Off the Black gradually establishes its own peculiar cranky rhythm, fighting to resist the usual male-bonding sentimentality. But despite some nice touches, this is the sort of too-precious indie film that gives its characters unnecessary quirks.

Plays more like a disjointed radio show with pictures -- The power of Chomsky's intellect and message are poorly served when pigeonholed by the hagiography of some of his supporters.

A near miss overall, but enjoyable in its littler particulars.

Doesn't offer much new in the way of news or analysis. What it does offer is inspiration from an unlikely source, via an unsparing look at one such victim.

The performers are a bright bunch, especially Snow (even if she's no sane person’s idea of a wallflower), Metcalfe, who has the cocksure swagger of a young Travolta, and McCarthy, who infuses her few scenes with a haggard dignity masquerading as optimism.

Schwentke handles the claustrophobic environment efficiently enough, though he dallies too long before letting anxiety give way to action.

Though the film overall is as disposable as a hot dog, it is just as enjoyable.

As a story it’s nothing much, but as eye candy it is world-class.

A fun movie. Not scary-fun. If you're a male over 10 years old, that should be enough.

For a movie that boasts a murder, a would-be suicide and the usual generous helping of screwing around à la français, Le Divorce is remarkably calm and contained even as it builds to its climax.

Nemesis never feels true to itself, its energy never fully engaged. Even with Earth on the line in its climactic space battle, the film seems embarrassed that it couldn't have found a better way to work through its issues.

While Slums of Beverly Hills may sound like a downer, Jenkins tempers the family's downbeat circumstances with sympathetic humor, a quirky camera style and lo-fi retro flavor.

Perhaps only a filmmaker from a country steeped in Catholicism could turn out a consistently sharp and profane "divine comedy" (the title means "blessed hell") that is also, for the most part, theologically correct.

Although he damn near slanders an entire country - expect poor Slovakia's tourism industry to take a hit - Roth is not an unskilled ringleader of gory crisis moments, or breathless escapes. The squeamish should simply stay away, but carnage queens will appreciate some of Roth's less grisly, even amusing details.

Relentlessly positive and optimistic, the film is also likable, in the most chaste way imaginable.

Recalls the structure of Danis Tanovic's 2001 black comedy, "No Man's Land," but not that film' hyperknowing urbanity or strident political savvy.

The sketchy, poorly colored, outsourced animation is dispiriting, but it's the only display of blatant crudeness, and in that, an obliging parent may find relief.

Among the film's other drawbacks are how conventional it feels in its structure and strategy, often misguidedly going for the epic high-key feel of classic NFL Films on a low-key, DV budget.