As David Rakoff once wrote, "Youth isn't wasted on the young. It is perpetrated on the young." Exactly how is brilliantly captured by Andrew Bujalski in his debut feature, Funny Ha Ha.

A subtle artist and a sharp observer, Martel manages a large cast with an ease that matches her skill at storytelling, within which psychological insight and social comment flow easily and implicitly.

It is a pleasure from start to finish.

It is the kind of superbly crafted, intelligent entertainment — a classic suspense thriller — that nowadays is as welcome as it is rare.

Moving from tragedy to tragedy, the film teeters along unsteadily, showing events we've seen countless times before and then imploding under the weight of its ridiculous ending.

What results is an intimate, chatty film, both cheeky and thorough, the kind of high-class historical gossip you might get if an eminent Soviet historian like Robert Conquest or Richard Pipes went to work for the National Enquirer.

An amazing achievement of personal filmmaking.

Yes, this could be a better film, but the good qualities it does have are rare enough to hold our interest on screen and off.

If the script isn't as well-structured as it could be, the dialogue is refreshingly natural. Kutcher is surprisingly well cast as the awkward, somewhat dorky Oliver, and Peet is charming and charismatic without being cloying or artificial.

Lifeless and laughless.

Fascinating, highly entertaining.

It's a chilling, completely fascinating documentary.

Despite strong performances by Gerard Butler and Wes Bentley as the leaders of the two factions and crisply directed soccer action, the movie lacks a powerful central presence to carry the drama.

Benefits from Caviezel's ability to project earnestness better than nearly any actor currently working, but its near-comic predictability, "What else could go wrong?" plotting and cliché-ridden screenplay sink it.

Two movies in one, but it's no bargain. A charming romantic comedy... transforms awkwardly into a hedonistic crime thriller, with the two genres violently butting heads.

The film toys with the grand themes of love and death as it understatedly moves toward an unsatisfying denouement. Although the narrative is not always compelling, Lu subtly conveys sensuality without nudity in the sex scenes, and something about the boldness of the exercise keeps you watching.

The film is a terrific scare show, fast and furious, made with a lot of style and energy, packing plenty of jolts yet never lingering morbidly over horrific images. It is anchored in strong characterizations, and its plot develops with chilling psychological suspense. It's such a skillfully made entertainment that its plunge into the supernatural is persuasive even for the skeptical.

A film that takes a steadfastly gentle look at some of life's harshest moments while not overlooking its joys, House of D deserves a chance to find an audience.

The cartoonish movie might have made for a funny half-hour short or sitcom pilot but runs out of track well before its conclusion.

Grounded by a gutsy, over-the-edge-and-back performance by Paul Kaye as Frankie, It's All Gone Pete Tong takes the long way around before finally redeeming itself.

It's a bawdy farce done with real delicacy, a charming adult comedy that ends up with unlooked-for emotional heft. If that doesn't cover all the bases, it certainly comes close.

Provides little insight beyond hanging out with its super-sized star and would not be out of place as halftime filler except for its nearly 90-minute running time.

As depressing as it is hard to watch, Palindromes is also consistently, horrifyingly funny and sharp-witted, and the darker and more well-observed its humor, the more it belies the director's unsentimental, even grudging empathy for his fellow DNA monkeys.

Breck Eisner, son of former Disney mogul Michael and something of a protégé of Steven Spielberg, for whom he directed an episode of the miniseries "Taken," guides Sahara's big action set pieces with assurance, but would have been better served by a tighter script.

Sweet and often hilarious.

Brilliantly choreographed and shot, Kung Fu Hustle is often grisly, visually spectacular and unabashedly silly, sometimes all at once.

Eating Out might just make it as an amusing trifle, but on the big screen it's merely tedious and silly.

Sternfeld's approach is rigorously minimalist, which is a plus since the Winters family is in no way extraordinary or distinctive.