A shell of a film. It's a stripped-down and blown-out thriller than can only be measured by the sum of its action sequences.

As a snapshot of Hungarian history, Glamour's watchability trumps that of "Sunshine" — the droll absurdity of the former leaves a much deeper impression than the latter's bruising moralism.

A jauntily entertaining ride.

This lightweight thriller has an enjoyable premise.

A brooding, stunningly realistic portrait of familial self-destruction that raises far more questions than it can possibly answer.

Elevates the horror genre with a refreshing intelligence and humor -- too bad it's not half as good at generating scares.

Plays like a Chinese "Cinema Paradiso," full of feeling without succumbing to sentimentality.

A raunchy, scattershot, but often hilarious spoof.

A witty, if overextended, take on pornography.

None of their efforts can turn this ho-hum, mildly entertaining line-drive single into a solid, explosive home run.

Has a credibly gritty texture, thanks in large part to Fishburne's generosity with his fellow actors.

A trifle of a farce fashioned into a '30s musical that gaily trips as much as it lightly skips, but nonetheless marks a welcome return to form.

Works best as romantic melodrama and is least convincing as a psychological suspenser.

They make a believable trio of siblings, but not even their combined wit can lift this script above the maudlin.

Though far from a sophomore slump, Snatch, like "Smoking Barrels," is such a grab bag of other influences that it's tough to figure out what, if anything, about Ritchie's style is uniquely his own.

Almereyda never plays up the gimmickry at the expense of the performances, and as a result, his movie largely succeeds, despite an overabundance of pretentious pokes at our consumer culture and the risky casting of Ethan Hawke in the lead role.

An elegant, haunting folktale.

Jon Reiss' compelling documentary on the people, music, and social constructs of dance culture, may perhaps provide some needed balance to the mass media attention.

A fresh and beautifully timed, if slight, romantic comedy.

It's such an accomplished, beguiling film in its details that you almost don't notice that the story is scattershot, arbitrary, and thin -- almost.

Mad About Mambo's steps may be as familiar as the hokeypokey, but there's just enough gusto in the execution to make it a guilty pleasure.

It is only once the movie has exhausted its roster of "weird" notions and contrived images that it finds its emotional footing, leaving you with one half of a lovely, woebegone film.

Has storytelling rambles and lapses that no amount of electrifying jump-cuts and original image-making can compensate for.

The good news is that they've resurrected a franchise with wonderful potential and may eventually grow bored enough of recapping past triumphs to take it in more daring directions.

It's Besson's stunning visual fluency that takes center stage, and in the end, that's not quite enough.

A classic Sundance résumé movie -- texturally interesting, bubbling with ideas, and as structurally predictable as a cardboard box.

A bright, lively picture.

Despite terrific comic acting...and an atomic first hour, Fight Club makes a few wrong turns and ends up lost itself.