Their (Tunney and Nelson) interplay is what saves the movie, and possibly should have been expanded upon to the exclusion of the other plot points.

These wonderfully adept actresses take so much pleasure in playing long-faded Southern belles, in mixing the genteel and the bawdy as they conduct their extended therapy session, that it will be difficult for even the most hardened Yankee curmudgeon to resist them.

An authentic and thrilling glimpse into Inuit culture and tradition.

When Affleck keeps getting work, the terrorists HAVE won. With blank eyes and soft features, he has none of the gravitas of his predecessors, Alec Baldwin and Harrison Ford, who saved the world with swagger. Affleck merely looks like a frat boy in over his head, which is perhaps the point.

Not only is Undercover Brother the funniest spy-thriller since "The Nude Bomb" (oh, behave), it feels like the proper sequel to "The Blues Brothers," crossing all kinds of lines between cartoonish buffoonery and genuine compassion for its characters.

Any story's a good story if it's told well, and this one is, with chuckles to spare.

Beautifully observed, miraculously unsentimental comedy-drama.

It's a feel-good movie for people tired of paying to feel bad. Bring it on.

It's refreshing and unusual to see clever strategy trumping ritual honor in a film of this genre, even if one of the tricks seems gratuitously brutal.

By the time Sprecher's skeins, set forth in 13 related episodes, come together, we've got as clear a view of the big picture as we got assembling the elements of "Nashville," "Lantana" or "Magnolia".

You probably saw this film the last time around, when it was called "Sleeping With the Enemy." This one merely adds a better car chase and more ass-kicking.

A key problem here is that the film is adapting a short story, and, as such, has to pad it out to feature length -- it still comes in at a scant 82 minutes, about 52 minutes too long.

What Nolan does accomplish here that we haven't seen from him before is staging a few horrifyingly effective suspense set pieces -- one of which, in particular, is likely to stay with you for a long time.

It's an exceptionally dreary and overwrought bit of work, every bit as imperious as Katzenberg's "The Prince of Egypt" from 1998.

Director Oliver Parker (An Ideal Husband) -- who also adapted the screenplay to include aspects from Wilde's unrevised four-act version of the play -- embraces the material with great gusto, delivering as charming and irresistible a film as one could demand.

A remarkable movie with an unsatisfying ending, which is just the point.

Perhaps the most remarkable aspect of About a Boy is how substantial it plays -- as a feel-good film with weight, a knowing comedy with dramatic depth.

There are a couple of technical rough spots, but this daring film challenges most widely held notions about religious conviction while providing a complex portrait of an identity crisis that's run amok and a good mind that's jumped the tracks.

Sometimes it bounces along, other times it feels forced. Kids and hardcore fans will love it regardless, and those who don't will nonetheless be talking about it for the next three years.

In the end, after the super-modified shovel racing, wild half-pipe action and integral employment of Black Sabbath's "Paranoid," there's a poignancy to the piece.

Boll uses a lot of quick cutting and blurry step-printing to goose things up, but dopey dialogue and sometimes inadequate performances kill the effect.

Even those looking to catch a few Diane Lane tit shots will be so exhausted by the endless nothingness between each one that it won't be worth it.

An ugly-duckling tale so hideously and clumsily told it feels accidental. Surely, no one PLANNED something this disastrously unfunny.

Wacky chaos ensues, as the film veers toward a subplot about industrial espionage, but director Clare Kilner's debut is never as daft as it should have been.

Surprisingly manages never to grow boring -- which proves that Rohmer still has a sense of his audience.

An inspiring effort, lavishly lensed and featuring a spicy (if occasionally synthy) score from A.R. Rahman. Best of all, it's also something of a musical, as the characters are not above breaking into song and dance to serve their emotions.

Thoroughly entertaining Home Movie carries on a grand tradition of American documentary -- seeking out the eccentrics and contrarians among us.

Jeffrey Greeley's loving photography of the wintry landscapes is beautiful, but lead actor Jacob Lee Hedman is nowhere near as charismatic as he needs to be for a film with this few characters.