The Road is a road you'll wish hadn't been taken. Not because anything's been badly done, but because there's a serious imbalance in the complicated equation between what the film forces us to endure and what we end up receiving in return.

The dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed.

McKay, a British stage actor who was doing an off-Broadway production about the movie legend when casting started, and Danes, whose acting always seems so effortlessly good, are the best things about the film.

Wisely, Hancock has given the film as much humor as heart.

It's tempting to forget that Cage is not Terence. That would be unfair though, and diminish the sheer ferocity of his performance.

The writer-director is up to his old tricks, creating an onion of an experience -- a movie within a movie within a movie, irony in each layer, poignancy that stings and whimsy that bites.

Constrained by the plot of the novel, the film keeps the two lovers apart for quite a spell, robbing the project of the crazy-in-love energy that made "Twilight," the first entry in the series, such a guilty pleasure.

It's a missed opportunity. The premise is OK enough, even if it is like one of those old "Star Trek" episodes.

Even though Defamation, which is sprinkled with unexpected moments of wry humor, will be inescapably controversial, Yoav Shamir strives admirably to be evenhanded.

The setting, largely confined to the laboratory building and underground bunker of the otherwise bombed-out Imperial Palace, makes for somewhat claustrophobic viewing but effectively enhances the hermetically sealed feeling of Hirohito's royal life.

Despite honoring noir genre conventions, Buschel also draws upon his fertile imagination in dialogue and in storytelling that allows his film gradually to accrue meaning.

Returning to his roots after a stint in Hollywood, Woo has made the most expensive film in mainland Chinese history, a pleasantly traditional picture that marks a new direction for one of the world's premier action maestros.

A pleasantly cerebral experience, exhilarating and fizzy, that goes to your head like too much Champagne.

As far as the new disaster film 2012 is concerned, the world will end with both a bang and a whimper, the bang of undeniably impressive special effects and the whimper of inept writing and characterization. You pays your money, you takes your chances.

The film belongs to Foster. The actor always makes the most of what is handed him, though he's usually required to find his footings around the margins, as he did as the crazed cowboy in "3:10 to Yuma" or the crazed druggie in "Alpha Dog."

Pirate Radio, the new rock-saturated comedy that proves life really is better when it's set to a '60s soundtrack, is, to borrow from the Stones, "a gas! gas! gas!"

The film lacks the comedic charm of "American Pie," but with its dark, hyper-sexualization of teens, it offers an engrossing if not soap opera-esque tale of self-discovery.

Terrific archival footage from a range of seminal civil rights events, as well as affecting narration written by Sarah Kunstler and spoken by Emily Kunstler (who also edited the film), round out this superior documentary.

Filmmaker Peter Rodger does a fairly comprehensive job of traversing the globe in 98 minutes, posing the age-old question, "What is God?"

Spending more observational time with her smart, resilient and stirringly positive subjects -- even seeing less-edited footage of their business plan speeches -- might have helped sell her inspirational story.

The sexual humor is often bawdy, and Gutierrez goes right up to the edge of camp.

Moss brings warmth and dignity to a part that could've easily slid into stereotype, while Camryn Manheim owns her few scenes as Amanda's best friend.

Nothing quite prepares you for the rough-cut diamond that is Precious. A rare blend of pure entertainment and dark social commentary, this shockingly raw, surprisingly irreverent and absolutely unforgettable story.

Still worth watching because it provides a showcase for a group of actors who really appreciate this kind of farcical comedy.

What the plot doesn't decimate, the film's slower-than-a-clogged-drain pacing does. Sadly, this is one box that's just not worth picking up off the porch, much less opening, not even for a million dollars.

They try to get 'real' about strange occurrences. Instead they get ludicrous.

What are in very short supply, though, are the central chords of Dickens' carol: Crachit's generous spirit, Tiny Tim's sad plight, Scrooge's emotional arc as he finds his humanity. Oh, the scenes are there amid the action, but they are fleeting. By the time A Christmas Carol finishes piling its many shiny presents with their many bells and whistles under the tree, there's no room left for tears for Tiny Tim. Bah humbug indeed.

Storm is harrowing, provocative and deeply probing yet quite involving.