A bold-faced name for a lowercase effort, a school wrestling drama so mired in family-film clichés it can never shake loose the suspicion that - not unlike certain high-gloss mat bouts - the emotional fix is in from the get-go.

There's a push-pull dynamic coursing through the late-in-life romance Lovely, Still that keeps the film intriguing even when it looks like it's going to sink into sentimentality.

Although Gruber's personal life and latter accomplishments are mostly addressed via a few closing sentences, "Ahead" remains a fleet and fitting tribute.

Slick entertainment is rarely as, yes, slickly entertaining as it is in Heartbreaker, a French romantic farce that is commercial cinema at its most successful.

Fake or not, I'm Still Here is no fun to watch, and in fact Phoenix's situation comes off as so dire that it becomes a reason to doubt the film's authenticity. Filming someone having a mental breakdown is embarrassing and exploitative at best.

If you're interested in this movie, it's because you love either seeing zombies explode (check), the video games (major character included, check) or Jovovich kicking undead butt in every conceivable way (check and mate).

This sour spin on "My Best Friend's Wedding" (crossed with a pale dose of "The Big Chill") proves unsatisfying not only because of its unlikable characters and often contrived conflicts but for the thoroughly implausible bride and groom at its core.

What is most involving about Gould is the extraordinary way he played.

Amazingly, the suspenseful Sequestro is a film of a remarkable number of happy endings, a tribute to the well-honed skills and knowledge that the DAS has developed since its founding in 2000.

Collecting the testimony of those who have been through the stress machine and those who have observed it firsthand, the documentary is a dire warning and solid piece of advocacy journalism, complete with an action checklist at film's end.

The Chinese economic miracle, however, came at a wrenching human cost, one that is beautifully explored in an exceptional documentary called Last Train Home.

Often lacks momentum, especially in its early stretches. It is, however, a far more solid film than writer-director James C. Strouse's debut, the war-themed family drama "Grace Is Gone."

The result of Zhang's experimental theater will be a rich brew for some, weak tea for others - a divide that will largely depend on your taste for a blend that is lighter on the subtext and heavier on the slapstick.

It's an undeniably small yet almost indefinable film, warmhearted and bittersweet, laced with both humor and tough emotions. Plus it has a kind of bicoastal appeal.

The warm and charming White Wedding is like "The Hangover" off steroids. It's another get-me-to-the-church-on-time obstacle course but filled with smart social commentary, romantic wisdom, credible complications and memorable characters.

While many of its elements whet our appetite and make the film well worth seeing, The American doesn't manage to deliver a fully satisfying meal. It's against the film's religion to have us believe too deeply in its characters, and that agnosticism, combined with the plot's sense of predestination, put a noticeable crimp in its grand ambitions.

Did I mention the dialogue? Well, really the armored car driver put it best when he said, "We're in trouble here…" No joke.

This is much more conventional cops and robbers stuff, leavened with a bit of sex and sequences of brutal, at times sadistic, violence. What elevates it above the norm is bravura acting by Vincent Cassel in the title role.

As with many well-intentioned scare flicks, the wrapping-up feels dissipated and obvious, but for a good while The Last Exorcism makes for an atmospheric, character-rich stab at movie fright.

Fast-moving, epic-on-a-shoestring tale of one Roman soldier's fight that is by turns heroic, fearsome, funny, fateful and, oh, so brutal, with swords hacking off heads at every turn.

Solier delivers a performance of ferocious but frustrating reserve.

There are no great emotional revelations about the fearless, free-spirited athletes profiled in the film, but these tanned-and-toned folks' deep love of surfing and mostly cheerful demeanors prove enjoyably infectious.

Piranha 3D is trying so hard for the laughs and the allusions amid all the gore, and endless bloodbath of bare naked ladies, that it completely forgets to frighten anyone.

Director Bruce Beresford ("Driving Miss Daisy") knows how to tug heartstrings but as he moves the inspirational material toward its tear-jerker finale, it's often hampered by awkward melodrama.

The animals are impossibly adorable, but never threaten to upset the film's delicate balance between magic and a more sobering reality. It's a fairy tale in the best tradition.

Aniston and Bateman keep things both light and dark when they should, and Robinson's Sebastian steals everyone's heart.

A story that won't go away, won't leave you alone, won't let you feel at ease. Intensely dramatic, filled with elevated heroism, crass self-interest and blatant stupidity, it's a paradigmatic narrative of our tendentious, turbulent times.

There's no denying that Soul Kitchen is a film that delights in contrivance and improbability, but it does so with such a big-hearted sense of fun that it is hard not to be swept away.

If there is one constant in Eat Pray Love, the imperfect yet beautifully rendered adaptation of Elizabeth Gilbert's memoir on a year of heartbreak and healing starring Julia Roberts - it is this: There will be tears.

If you want to see old-fashioned nonstop mayhem with stars so venerable that "The Leathernecks" (and I don't mean Marines) might be an alternative title, reviews are going to be superfluous. If you don't want to go, no review can change your mind.

Though the fun is not so much in who wins or loses the girl - it's the playing that matters, and Scott Pilgrim vs. the World definitely has game.

Faultlessly acted by top Australian talent, including Guy Pearce, Ben Mendelsohn and Jacki Weaver, Animal Kingdom marries heightened emotionality with cool contemporary style.

The ambitious Peepli Live manages to mine substantial dark humor from this tragic situation while offering pointed - and sometimes poignant - social commentary in the process.

It also features deaths by strangulation and immolation as well as a nasty bit with a flying severed limb.Kids may be less put off by all that, though, than by the film's uninspired hand-drawn animation, visual flatness and elongated running time.

Lee's young actors shine with talent and personality, but the film's gravitas lies in the wisdom and insight of Angela's loving father, so beautifully played by the distinguished veteran James Shigeta.

The result is a rich and detailed picture of the particular culture of this particular part of the South.

An exhilarating summer treat for all ages.

Here the filmmakers are in fine fettle, which goes a long way to make much of the low-brow silliness and slapstick infectious.

Flipped is the kind of small, special movie that wraps you up in so much warmth, humor and humanity that it will leave you wishing that stories like this weren't so rare.

A glum British kidnap movie in which writer-director J Blakeson manages to generate tension and some suspense, never rises above the mechanical and contrived, finally lapsing into the improbable.

What happened to these men on that ascent is fascinating, though factors like differences in gear between 1924 and today means that definitively answering the question of how far Mallory climbed is not possible. Which seems, somehow, just as it ought to be.

Consider Twelve its own memory-retarding narcotic.

Lebanon is not just the name of an excellent new Israeli film, it signifies a continuing national obsession that shows no signs of going away.

Nicolo Donato's bleak yet compelling Brotherhood, an unsparing neo-noir with the structure and inevitability of classic drama.

This most observant and involving film has three strengths: It shows that a strongly family-oriented, middle-class suburbia is initially hardly idyllic for gays; the arrival of Patrik reveals fissures in Sven and Goran's relationship; and that Lemhagen, who plays against predictability at every turn, maintains suspense right up to the final minutes as to how everything may turn out for the three.

Against all reason and expectation, the result is a distinctly unfunny film.

For now, Efron remains an unrealized dream and Charlie St. Cloud an unrealized movie, though judging from the "ooohhs" and "awwwws" from the audience, for his core tween-girl fans, that's more than enough.

Unfortunately, Berman skips past the darker implications of Hefner's sexual universe and omits discussion of how the periodical business -- and access to erotic imagery -- has changed in the Internet age. Still, the movie remains an involving look at an American icon as well as an adept snapshot of our national zeitgeist from the McCarthy era through the Reagan years.

As for the movie itself, it is better than the original "Cats & Dogs." But so is a rabies shot.

Moves from rowdy, broad comedy to shameless heart-tugging, but Romanian writer-director Radu Mihaileanu keeps this French production flowing buoyantly, skittering past all manner of improbabilities.

Shaped more for message than for convincing narrative impact, The Dry Land ends up feeling like a PSA to raise awareness of post-traumatic stress disorder.

The Extra Man" isn't in the same league as Pulcini and Berman's landmark "American Splendor" with Paul Giamatti as the late Harvey Pekar, but it has its moments - especially in its evocation of the sense that New York offers a greater sense of security for brave yet vulnerable individualists the way a sprawling, amorphous and transient city like Los Angeles rarely can.

In lesser hands this Southern saga might have collapsed into whimsical corn, but cinematographer-turned-director Aaron Schneider has fashioned a measured fable, witty and deeply felt, if at times tipping into melodrama.

And really, who goes to summer action movies for cast-iron logic anyway? Or for plausible characters, for that matter? You go for brisk stunts expertly executed, for well-directed action that doesn't allow you to catch your breath and for one of the preeminent action stars of our time. Yes, that would be Angelina Jolie.

Director Elizabeth Allen coaxes fine performances from her cast young and old, stumbling only when relying too heavily on musical cues (Katrina & the Waves' "Walking on Sunshine" needs to be permanently retired) and in the film's awkward CGI flights of imaginative fancy. Other than that, the movie is, to quote its young heroine, "terrifical."

Inspired in part by the success of "An Inconvenient Truth," the makers of Countdown to Zero are determined to mobilize public opinion to zero out the world's nuclear arsenal. We all should be rooting for their success, because failure would leave no one left to mourn our mistakes.

Farewell offers intrigue, simmering tension.

What Solondz does so well is create unthinkable moments in a "Leave It to Beaver" world, where unmentionables are aired in the most innocuous ways to startling effect. In Life During Wartime, he's done just that, creating a relationship agitprop that pops and sizzles; just be careful not to get burned.

Though much of the movie was shot in secret to protect the filmmakers, Bailey and Thompson managed to create a remarkably vivid portrait of a land and its people, while bringing us two unforgettable heroes in Campbell and Freeth.

With the patiently assembled '90s films "Ruby in Paradise" and "Ulee's Gold," director Victor Nuñez gave independent film a quiet luster of hand-craftsmanship sorely lacking in his dreary new effort, Spoken Word.

A remarkably rich documentary possessing depth, range, insight and compassion.

A tremendously exciting science-fiction thriller that's as disturbing as it sounds. This is a popular entertainment with a knockout punch so intense and unnerving it'll have you worrying if it's safe to close your eyes at night.

Small though it is, Kisses evokes all kinds of feelings, and that is no small thing from a film of any size.

It is to González-Rubio's credit that he can celebrate nature so joyously, yet suggest neither the preferred lifestyle of either parent is superior to the other.

The Viking saga Valhalla Rising, from the brutally stylish Danish filmmaker Nicolas Winding Refn, has the bones of an action epic but the soul of something cultier.

Witty, urbane and thoroughly entertaining.

The film throws so much ersatz cleverness and overdone emotion at the audience that we end up more worn out than entertained.

Though the thriller is in the hands of a different filmmaking team this time led by Swedish director Daniel Alfredson and screenwriter Jonas Frykberg, they've kept the searing intelligence and ruthless bent.

Whenever Rebney gets to be Rebney -- be it insulting, sweet or wearily perturbed -- "-Winnebago Man shows a full tank of irascible charm.

That rare zombie movie with actual scares.

It shouldn't be surprising, but some of these directors are more interesting than their work. French director Breillat, never a personal favorite, is an absolutely hypnotic speaker who holds the screen the way her films rarely have.

Airbender, whether intentionally or not, is pegged almost exclusively to a small-fry state of mind.

The Twilight Saga: Eclipse is back with all of the lethal and loving bite it was meant to have: The kiss of the vampire is cooler, the werewolf is hotter, the battles are bigger and the choices are, as everyone with a pulse (and a few without) knows by now, life-changing.

With his wide, hollow eyes, nervous fingers and celebrated big hair, Spector is a haunted-looking figure whose words are always compelling no matter what unexpected dissatisfactions they may reveal.

The grand Mirren is, truth be told, miscast and Pesci is misdirected as Grace and Charlie Bontempo.

The new Adam Sandler comedy has all the charm of a home movie that does not star your own family, which means it's overly sentimental, filled with you-had-to-be-there moments, bad jokes and even worse camera angles.

What Restrepo does so dramatically, so convincingly, is make the abstract concrete, giving the soldiers on the front lines faces and voices.

It's hardly a perfect film, not even close, but it is the most entertaining made-for-adults studio movie of the summer, and one of the reasons it works at all is the great skill and commitment Cruise brings to the starring role.

Brolin's intermittent voice-over narration proves to be the most powerful stuff, with the rest curiously sputtering.

Amuses and unnerves in equal measure. A comedy of discomfort that walks a wonderful line between reality-based emotional honesty and engaging humor, it demonstrates the good things that happen when quirky independent style combines with top-of-the-line acting skill.

As an exposé, there could hardly be a stronger case for ensuring and strengthening the separation of church and state -- or a stronger message to gay people as to the magnitude of the challenge to win equal rights.

Swinton is one of the finest actresses working in contemporary cinema, but Guadagnino, who developed the project with her in mind, has created a film that literally luxuriates in her talents.

This film becomes the kind of love note to movies we want and need.

A graceful, affectionate yet clear-eyed portrait of daily Middle America small-town life in which no individuals are interviewed but instead are observed with detachment as they go about their lives.

A moment had come that had to be seized, which in turn gave birth to the gay rights movement. On June 28, 1970, New York held its first gay parade, and as one of its participants remarks, "Stonewall lives on" in all the gay parades ever since.

A kung fu kick of a film that hits more than it misses.

An underwhelming experience. I pity the fool, as TV star Mr. T might say, who mistakes this for genuine entertainment.

She is by turns blue, bitter, hilarious, unbroken; a Hollywood-style portrait in infinite ambition. In that role, Rivers is unforgettable.

The flesh-and-blood protagonists are powerful, driven people caught in a riptide.

Intense, immersive and in control, Winter's Bone has an art house soul inside a B picture body, and that proves to be a potent combination indeed.

As Madeleine Sackler's absorbing, often tender documentary The Lottery shows, when it comes to the world of charter education, no seemingly good deed may go unpunished -- or at least undercut.

The road is rocky when the story speeds up to take care of business, with the end a mad dash to tie up loose ends. Still, there is enough saving grace on these craggy shores to let the mists and the legends roll in and envelop you for a while.

In its mix are ethical quandaries in biotechnology, nature versus nurture and an adorable-sexy-disturbing monster. So there's that. But it wins best in show by focusing on one of the weirder relationship triangles in recent memory.

The seriously out-of-control hard R dude is writer-director Nicholas Stoller, who apparently has major trust issues with his odd-couple stars, women and the audience. Did I forget anybody?

Is it some monstrosity of awfulness, as its lack of advance screening suggested? No, that would imply at least a spark of some kind. This is just an empty summer hodgepodge of stale romantic comedy exchanges, witlessness and lackluster action.

Wilson's amiable vocal work keeps the predictability from becoming too grating.

The story of the unsolved abductions and the man who might have become the scapegoat for a community is troubling enough. No big-screen trickery is required.

Dynamic, informal and observant yet, while never grueling, it offers a constant provocative contrast between backgrounds of spectacular and beautiful natural scenery and primitive living conditions.