Unfortunately, Garner doesn't have as much screen time as her prominence in the advertising would indicate: Daredevil has a hard time staying alive when she's not on the scene.

The film has been hailed as something of a literary thriller; it's not. The stultifying pace and Moskowitz's filmmaking laziness are forgivable, but it's exasperating and indicative of our low expectations for the documentary form that a film that taps the likes of Leslie Fiedler could be so devoid of ideas. Reading is fundamental; so is thinking.

Flows smoothly, looks great and probably cost lots less than it looks. One can't help resist saying it delivers the goods.

A concept, no matter how promising, is not a movie, and this picture has the bad luck to illustrate the difference.

Loving Jackie Chan has always been easy, which is why it would be nice if he could find better material in which to bask in his long-sought American stardom or, alternately, ease into bad movies as effortlessly as his co-star.

A stylized work of unflinching control and discipline, reflecting an artistic maturity unusual in a first film.

There's more than a little Oedipal melodrama tossed into the mix. But the movie rarely gets as sappy or as contrived as one keeps expecting.

Records an accident while it's happening, revealing a situation that makes you laugh again and again while weeping, metaphorically at least, for the sheer frustration of it all.

The Guru turns out to be just a flirtation with the musical rather than a full-on embrace. That's a shame because the musical interludes are where the film wears its heart and finds its soul.

The horror sequel is less philosophical than the original, but it's just as intelligent.

No matter how seriously everyone works to make the CIA impossibly sexy, the illusion that these pencil pushers are incarnations of Bond, James Bond, is difficult to sustain.

Crewson is a game, experienced actress but hasn't sufficient star charisma to lift Suddenly Naked out of the doldrums.

Mixes satire and suspense in unexpected ways in a film that is as darkly amusing as it is bitterly critical of bourgeois society's indifference to suffering.

Darkness Falls -- with a thud. But it does not go gently into the night, for director Jonathan Liebesman and his large crew cram as much style and energy as they can into a hokey and morbid supernatural thriller plot. It's a downer to see so much effort expended on such junk.

A riveting encounter with the woman who was Hitler's secretary...In a daring and successful stylistic choice, directors Heller and Schmiderer include almost nothing in the film but Junge.

A handsome period production of fluidity and subtlety, intimate and large-scale.

Guaranteed to infuriate anyone with strongly partisan opinions about the region. The film offers up simultaneous critiques of Palestinian and Israeli extremism, but the most radical thing about it is that it's often disquietingly funny.

Despite strong portrayals by Guttenberg and his co-star, Lombardo Boyar, and sequences that attempt to open the play up, it remains too much a filmed play, and worse, one that has not been effectively paced. As a result, it doesn't come alive until it's drawing to a close that's unexpectedly touching, if more than a little sentimental, but too late to redeem the preceding tedium.

The three leads go through the motions with goofy geniality, and director Chris Koch has enlisted some consummate character actors -- to help hold up the sagging jokes and story line.

A funny, raucous action comedy, effectively teams Martin Lawrence and Steve Zahn in a film that's both laugh out loud funny and surprisingly subtle.

88 minutes of desperate gyrations intended to simulate humor.

A potent and unexpected mixture of authenticity and flash -- even if this is what happened on the ground, making it worth our time on screen is just beyond the contortionist abilities of even this most acrobatic of films.

Through everyday actions and gestures -- in Hussein's awkward exchanges with other people, in his tender fumbling of his fiancée's purse -- Panahi shows a man for whom life has become increasingly arduous, alien. The filmmaker captures, in other words, what Bresson called "the force in the air before the storm."

The route to the film's dramatic and poignant climax is so hard to follow that the pleasure, the potential for which is considerable, has been substantially diminished.

There are all sorts of ways to look at The Son -- as a philosophical thriller, as a statement of faith, as a call to political arms or just as a terrific entertainment.

A dazzling epic of love, guns, gangsters and cigarettes.

Ashton Kutcher and Brittany Murphy are attractive and skilled performers as the film's newlyweds, but the movie is so mechanical it's like watching Barbie and Ken dolls going through the motions.

Has the virtue of sincerity but not that of restraint. Unlike Terrence Malick, whose shadow looms over the film's visual style, the Smiths over-explain, not grasping that all those barren fields and blood-red clouds are doing plenty of work for them.