The film's pronounced split between violence and softness notwithstanding, Prince Caspian is finally a more polished effort than "The Lion, the Witch and the Wardrobe" and squarely in the tradition of the kind of teenage movies the Disney organization used to make before teens discovered horror and gore.

Though the film stars a relaxed and capable Harrison Ford as everyone's favorite intrepid archaeologist and boasts supporting players ranging from Cate Blanchett as a superb villainess to Shia LaBeouf as the inevitable youngster, the real heroes of this film are director Steven Spielberg and the veritable army of superb technicians who turn the film's numerous stunts and special effects into trains that insist on running on time.

It's all saved by actor Danny McBride, who has created such a distinctive character in Simmons, at once engaging and repulsive, that it's hard not to keep watching even while cringing.

Can't rightly be called a romantic comedy in the dismal, contemporary sense, though it is at times romantic and is consistently very funny. It's also emotionally realistic, even brutal.

Sweet, however, are the uses of melodrama in the skilled hands of Tornatore, for he transcends the lurid and the coincidental with range, depth and insight, and a bold, confident, suspenseful style, to create a fable of love and redemption.

Full of stunning views of China, Mongolia and Kazakhstan and showing an unexpected side of Genghis Kahn, Mongol feels like an old-fashioned epic.

The images captured by Herzog and cinematographer Peter Zeitlinger are dazzling all on their own, finding the disorienting psychedelia that is nature at its weirdest.

Though drawn together by the thrill of infatuation, fostered by Isherwood's penchant for emergent male youth and Bachardy's awe of fame and glitz, the pair developed a durable love strengthened by nurturing and patience. In recounting this journey, directors Guido Santi and Tina Mascara make rich use of the couple's glamorous home movies.

Mortimer gives a terrifically keyed-up performance that is nicely complemented by the wholesomely chipper Harrelson, who seems to be drawing inspiration from Fred MacMurray's gallery of Disney dads.

Among the sunnier, funnier films of the year, thanks largely to the zest with which Faris embodies a mental vacuum.

A stirring documentary.

This is a modest, thoughtful, independent production of exceptional insight and quietly devastating power.

His engaging chronicle of the physical, historical and psychological effect of the undertaking, is also an invitation for a film buff to meditate on the antebellum South's mythic power in stories and film.

Director Koji Masutani has masterfully assembled a wealth of archival footage, photos and audiotapes, some of which has been recently declassified.

Rich in revealing detail and apt in its use of everyday Spokane settings, A Thousand Years of Good Prayers shows that Wang remains a master explorer of the landscape of the human heart.

Even surrounded by all this quality work, Ralph Fiennes, who plays William Cavendish, the fifth duke of Devonshire, the most powerful man in England next to the king, walks off with the picture.

It is a teen romantic comedy that largely fits the familiar template but is also fleshed out with atmosphere, a nice blend of broad goofiness and sophistication, and two appealing leads who bring it to life.

Good Dick carries its messed-up, highly improbable premise so lightly and gracefully that it ultimately comes off as a sweet, plausible and curiously grounded love story -- and touchingly old-fashioned.

As is always the case with Leigh's protagonists, Poppy does not fit into a schematic log line, she simply is. She exists with an intensity that few other filmmakers' characters can manage because of the singular way Leigh creates his people.

Makes for a thoroughly captivating film.

In other hands, these clashes of good and evil might have seemed ordinary, but Eastwood makes Changeling a hard story to shake off. To see this film is to understand both how fragile and how essential our hopes for decency and truth are in a world that must be made to care about either one.

One of the truly heartening international political stories of recent years.

There is an unnerving and hopefully implausible twist at the end, but for the most part, Mikhalkov's 12 is magnetic.

A centerpiece of the film is a tribute to the late, legendary Amália Rodrigues, a woman of commanding, majestic beauty and presence, who is seen with her pianist in rehearsal, searching out every nuance of a song she is to perform. Unfortunately, Fado's other performers are not identified.

First-time feature director Matt Aselton, who co-wrote the darkly funny, well-observed script with Adam Nagata, has crafted a disarming tale that's one of the better independent films in recent memory.

It's a can't-miss effort that knows how to please.

Unexpectedly involving documentary.

It would be Pollyannaish to pretend that the documentary Earth is without its problems, but the bottom line is, difficulties be damned, it shouldn't be missed.