The movie's not without charm -- the creature effects are fun and the mix of vampires, zombies (et al) is amusing. That's not enough to save it from the Curse of the Predictable Plot Twist and the Blight of the Creeping Shadows.

At best, they entertain in a "people say the darndest things" kind of way. But they do support the notion that people still fall in love and find a way to make it work for a lifetime, which is about as happy an ending as you could wish for.

Entertaining portrait.

Any sort of new insight into comedy's darker themes, to say nothing of life's, eludes Funny People. Instead Sandler and Rogen and the rest are left to wander aimlessly, with tedious comedy gigs, an even more tedious faux sitcom and relatively vapid relationships masquerading as a plot.

A powerful and effective piece of advocacy filmmaking, but it's difficult to watch it without thinking of subtitles like "The Place Where Evil Dwells" or "The Little Town With the Really Big Secret." Which is no accident.

Are you hungering for that rare vampire movie with serious intellectual heft, ravishing undead, biting passion and a healthy splash of irony as well as iron in all that spilled red blood? Wait no longer, Korean auteur Park Chan-wook's Thirst should satisfy.

Perfectly calibrated for the pre-adolescent set, highlighting broad physical comedy and themes of kid empowerment and featuring one of the stars from "High School Musical."

Either you go for this sort of extreme, senseless gore or you don't. With its plot and lead performance, The Collector is, at least, an unusual specimen.

A gritty, deceptively low-key, no-fuss, no-frills movie of consistent originality and surprise in which suspense arises straight up from the heroine's evolving character.

It's a kicky, slightly exhausting look at a bygone era of low-rent moviemaking, whose colorful trove of film clips should delight fans of cinematic esoterica, nostalgic schlock and high octane drive-in fare.

A deeply involving look at people living permanently on the knife-edge of danger, Flame & Citron does more than radically rethink the World War II resistance drama. Its biggest accomplishment may be to make these historical conflicts and dilemmas seem surprisingly contemporary.

Gotta Dance is a feel-better movie. Warm and cozy with just the tiniest dollop of tension.

Subtlety and nuance mark both the film's dialogue and performances. It's hard to see how Dancy and Byrne could be any better.

You, the Living suggests that we would do well to discover the joy we find in each other that so often goes along with the pain.

In the Loop is no precious show dog. It's a snarling, frothing little beastie straining at its leash.

Clocking in at more than two hours, the movie teeters between psychological horror and violent blood-letting and, as such, probably won't completely satisfy fans in either camp.

Conveniently, everyone wears their symptoms on their sleeves, but because the characters are so haphazardly drawn, their pain remains elusive to the end.

Ironically for a film revolving around psychotherapy, Shrink doesn't stand up to analysis.

Something seldom seen: an original romantic comedy.

It's intelligent, provocative and intensely dramatic. Its subject matter may be tough but it is as powerfully authentic as anyone could want.

Death in Love is occasionally pretentious but always riveting. Strap yourself in, especially for those gruesome flashbacks of Nazi medical experiments -- this is one endurance test that's worth the effort.

This one-of-a-kind film cycle has become as comfortable and reliable as an old shoe, providing a degree of dependability that's becoming increasingly rare.

A funny and endearing character comedy whose extra-brief, 70-minute running time proves perfectly adequate for its slender, episodic story.

Like a wayward love child of Lenny Bruce and the Three Stooges, Brüno is an idiot savant of penetration -- breaking through borders, boundaries and anything that resembles good taste on his way to whipping up as much cultural anarchy as he can. I would guess Brüno is holding on to an R rating for this sublimely spicy soufflé by the skin of his, well, let's just not say.

Unlike a lot of institutional raunch in today's comedy, Humpday finds laughs out of what is rarely made explicit between buddies.

Blood's only surprise is that the filmmakers landed Gianna (also known as Gianna Jun, or Jeon Ji-hyun) for the lead. The South Korean megastar proves a more-than-capable action heroine, despite the creative detritus around which she has to navigate.

Not a remake -- it just feels like one.

A vibrant and joyous new documentary.