The real mystery is this: Even if you find this guerrilla art project utterly fascinating, why would anyone bother to release an incomplete film about it?

All this is loads of fun, but after a while sensory overload sets in, dulling the mind. Even in a kung-fu flick, more isn't always better.

Seven Days in Utopia obviously isn't targeted at us cynical New Yorkers. But it goes down more smoothly than you'd imagine thanks to Duvall and an excellent supporting cast.

Chlamydia, gonorrhea and Jason Sudeikis are three reasons to stay well clear of A Good Old Fashioned Orgy, but they're not the only ones.

While an iconic figure in France, Gainsbourg isn't a household name here in the States. But that shouldn't stop audiences from enjoying Sfar's good-looking, fanciful film.

A bit more context about some of the topics the witnesses discuss would have been welcome, but Whitaker's stark, unshowy style is probably the most effective way to approach 9/11.

The collection is a mixed bag, although there are no clunkers.

Family Tree, which seems to have been written using indie-film Mad Libs, devolves into way too many quirky subplots.

Markopolos repeatedly tells us he was scared for his life -- accompanied by hokey archival clips and music -- though nothing actually happened to him.

Spanning two decades in a little under two hours, Higher Ground is a well-acted if slow-moving drama that will reward adventurous audiences with fine performances and a thoughtful approach.

Graham Greene's guilt-and-gangsters tale "Brighton Rock" gets an even more melodramatic telling than in the 1947 film version courtesy of first-time director Rowan Joffe, whose histrionic adaptation screams "student film" with practically every frame.

There are superb performances by Iranian-Canadian Nikohl Boosheri as Atafeh, the more rebellious of the two women, and French-born Sarah Kazemy as the less-privileged Shireen.

Harks back to a 1960s idea of what a horror film should be.

So this bourgeois-bohemian movie is, in a way, as serene in its obliviousness to the exterior world as its man-child subject. It's not essential, but it is endearing.

Luc Besson keeps ralphing up scripts about beautiful lady killers, but that doesn't mean you have to keep seeing them. Case in point: Colombiana...[a] dull cable-TV-quality item.

A dumbass "Kick-Ass," the superhero comedy Griff the Invisible sits on the screen like a steaming lump of Kryptonite.

Mozart's Sister had a much smaller budget than "Amadeus," but Féret makes good use of his resources, even getting to film in the splendid halls of Versailles. The cast is excellent, be they relatives of the director or not. And the music, though not by a Mozart, is beautiful.

Gentle, tender and very French, The Hedgehog is cinematic poetry -- too bad about that prosaic plotting.

In the end, there's just a roomful of decent character actors in search of a point. For them, the titular Flypaper may have simply been a paycheck.

Should appeal more to those who like to watch stuff blow up than understand exactly why the carnage is transpiring.

The overlong Amigo has its heart in the right place, but its approach to complex issues is too simplistic to win over unconverted minds.

The Last Circus features garish costumes, grotesque ultraviolence and plenty of other assorted weirdness. Although not everybody's glass of sangria, it has the making of a cult hit.

Feeble comic one-liners and slow pacing combine for a routine fangfest in this remake of the 1985 film.

It has a certain commitment to its cause, and by that I mean it supplies the necessary flayings, slayings, beheadings and, um, a be-nose-ing, all of it dancing to the tune of those amusingly stilted He-Man declaratives - King James Bible cadences applied to comic-book visions. It knows it's a B movie, and gets on with it.

I might be able to get past that if Hathaway and Sturgess had any chemistry. There are no sparks whatsoever, and that's always a deal-breaker for me in romantic films.

A daunting work that will please movie lovers willing to invest their time and intellect. Now I look forward to Fiennes' next project, a feature about Grace Jones.

Rambling, mildly engaging micro-budgeted indie.

Little more than a rehash of old news.

It isn't every day that one witnesses, via a camera mounted with the driver, some of the final images in a man's life before he crashes into a wall at enormous speed. Whether you'll feel good about yourself after watching is up to you.

Fine for fans? Sure. This stuff is crack for fans. Crack is really bad!

Final Destination 5, which, despite its lowbrow story, turns out to be one of the fastest-moving films of the year, is a suspenseful and macabre exercise in dread for the absurdly cosseted.

Gut-bustingly funny -- perhaps this waning summer season's ultimate guilty pleasure.

Director Tate Taylor is a childhood friend of Stockett and hasn't done much else, which may be why The Help feels clumsy but well-intentioned.

It's basically left to the viewer to figure out the historical significance of this drug-fueled odyssey.

Tenderness and good intentions don't necessarily add up to a movie.

You'd be better off renting "Eddie and the Cruisers" (1983) than slogging through this latest, far more dire recycling of the same rock clichés.

A pointless drama that trafficks in cliché.

Brace yourself for an explosively brutal finale.

Sporadically hilarious but more often just plain crass and contrived.

They probably should have called it "Beneath the Dignity of the Planet of the Apes," but Rise of the Planet of the Apes is tolerable if you'll just keep in mind that the original feature was an overachieving B-movie.

Working from a 1982 novel set in Quebec City, director-writer Jacob Tierney provides enough thrills and surprises, even a little satire, to keep viewers' attention.

It's a clever concept that should play well on TV and the Internet. But as a big-screen movie, Life in a Day -- which lists brothers Tony and Ridley Scott as producers -- elicits a shrug and a question: Who cares?

The movie is more a situation than a narrative, and it's repetitive and depressing. One interrupter -- a murderer who did 14 years in prison -- says of the program, "In essence, it's just a Band-Aid." At best: One of his colleagues gets shot in the back for his peacekeeping effort.

You might be reminded of Jean-Jacques Beineix's 1981 thriller "Diva," which also involves crooked cops and Metro chases. But you need never have seen "Diva" to be captivated by the exhilarating Point Blank.

What follows is a hilarious, slam-bang series of chases and battles that cross "Gremlins" with "Assault on Precinct 13," the two most prominent of many genre films quoted by Attack the Block.

The omnipresence of oddity in The Future dilutes its charm: A T-shirt creeps around on its own, a little girl likes being buried neck-deep in the backyard. Whatevs.

How dark is this comedy? It's a big hit in Ireland.

Really it's just a trashy bid to be the "Scarface" of Mesopotamia.

Ineptly directed by Raja Gosnell -- the genius behind the "Scooby-Doo" features, "Big Momma's House," and "Beverly Hills Chihuahua" -- this cheesy-looking flick has lousy animation, worse special effects and the most headache-inducing, blurry 3-D since "Clash of the Titans."

This midsummer crowd-pleaser from the ateliers of Steven Spielberg and Ron Howard is still a great deal more rip-roaring fun than, say, the campy movie version of "The Wild Wild West."

Pity the crowds expecting another cute comedy like "Date Night" who wind up at Crazy, Stupid, Love. It'll be like asking for a burger and getting served escargot.

Even with a clever final twist straight out of "The Twilight Zone," this crummy-looking two-hander is a tough sit.

It's an engaging piece of filmmaking on its own, beautifully shot and acted.

The film is most effective when Geier, accompanied by a granddaughter, goes to Ukraine to speak at a school.

File this one in the same category of edgy Long Island comedies as the equally smart 2009 Alec Baldwin film "Lymelife."

Sarah's Key belongs to the Holocaust for Dummies section of Harvey Weinstein's History for Dummies series of mer etricious glossy dramas that ransack global events and turn them into middlebrow women's weepies to fill his trophy case.

Trouble is, the movie is only sporadically funny, and the concept soon grows tiresome. In fact, you could say that there's too much downtime in Autoerotic.

Chemistry is the usually misfiring engine that drives romantic comedies, so it's a pleasure to report that Justin Timberlake and Mila Kunis are practically combustible together in Friends With Benefits.

Adding goofy uncertainty to shoulders as wide as the East River makes for a disarming hero in one of the spiffiest WWII action yarns ever to march out of Hollywood.

Alas, the complications don't arrive nearly quickly enough for the overlong and slow-paced Lucky to really cook.

By far the best scenes are shared by Sneider and his struggling but devoted mother, played by the seldom-seen Amanda Plummer.

A downer that too often resorts to melodrama.

Hugh Jackman appears briefly as Sophia's Aussie boyfriend, and gets to perform a lively song-and-dance number. But for some strange reason, his name isn't in the credits.

Be warned: The Tree is slow-moving, but if given a chance, it will (pardon the pun) grow on you.

This is all as pure and sunny as lemonade.

It's a reasonably funny religious satire that takes potshots at easy targets but is quite watchable due to the participation of two Oscar winners and two Oscar nominees.

The documentary Tabloid shows that an oddball lead character and a smirky style do not necessarily add up to a complete movie.

Everything a summer blockbuster should be but rarely is - a whip-smart, slam-bang piece of entertainment where we deeply care about the fate of the central characters.

There have been many untraditional film adaptations of Shakespeare's, but few have been as unorthodox as this one.

Offers well-chosen selections from Aleichem's darkly humorous work.

A long way from his TV portrayal of John Adams, Giamatti seems to be having an especially good time as a splenetic King John, who would not be out of place in a Monty Python movie.

Deep, disturbing and funny.

A must for hip-hop heads. Others will either be won over or left wondering what all the fuss is about.

Coincidence and contrivance are the name of the game throughout.

This film is no fairy tale for children. Not only does it contain nudity and sex, both straight and lesbian, but it also presents childhood as a time of terror.

A dull, by-the-numbers psych-ward horror thriller that's sadly a lot closer in quality to "Sucker Punch" than "Shutter Island."

Zookeeper barely avoids a zero-star rating because of James.

Idiocy can be funny, but let's not forget that for all of this movie's aspirations to be out-there, it relies on the staple of the sitcom mentality.

Yvan Attal and Anne Consigny give understated but powerful performances as Graff and his wife, Françoise. Although a bit too long, Rapt makes for compelling viewing.

The opening credits of Gangster's Paradise note that it was "inspired by real events." It would be more accurate to say that the film was inspired by Brian De Palma's "Scarface" and similar fare.

Has its share of clichés and contrivances. Fortunately, compensation is provided by strong performances by veteran actor Vincent Lindon as the coach and newcomer Firat Ayverdi as the refugee.

Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.

On paper, these people may seem like boring statistics. But Andresevic, in her first feature-length film after years of producing commercials for the likes of Nike and Cadillac, turns them into humans viewers will take to heart.

Ultimately breaks down under the weight of too many characters and unbelievable twists.

The film's attempt at a sort of beautiful anguish works best in its middle section. It takes far too long to get going, and it doesn't have much of an ending.

Earnest and predictable, it's the cinematic equivalent of a pop hit by star Selena Gomez's boyfriend, Justin Bieber.

If you're looking for a movie you can take your parents or young children to without fear of embarrassment or the need for endless explanations, this is the one.

Director Michael Bay, Hollywood's answer to the Antichrist, isn't primarily interested in your soul, though his movie does a pretty effective job of sucking that away (and sucking, in general).

I'd guess Turtle: The Incredible Journey will appeal most to kids, though they will have to wrestle with 3-D glasses.

Levy's innovative movie should appeal to mumblecore fans while perplexing mainstream audiences.

Amy Sedaris, channeling her inner Frances McDormand as a hyper admissions coach, gets most of the laughs.

Strained and mildly amusing. The real reason to see the movie is the delightful performance by Sara Forestier, who rightly won the French version of the Oscar for her portrayal of the carefree Baya.

The music is vibrant and the presentation is appealing.

In the appalling documentary If a Tree Falls, a narrator referring to an arson attack by the Earth Liberation Front solemnly intones, "In one night, they had accomplished what years of picketing and writing had never been able to do." Well, yes -- terrorism does make short work of red tape, doesn't it?

Lenny this is not. Still, it's nice to know that the son of a lawyer and a microbiologist can get into Harvard and make something of himself.

Don't get the wrong idea -- to Rowe's credit, this isn't just a movie about sex. It's a compassionate study of human loneliness. Whatever you do, don't confuse this with the Hollywood rom-com of the same name.

Weitz keeps the schmaltz in check, but it's clear pretty much from the outset that this immigrant family is fated never to find A Better Life north of the border.

Most of the laughs are collected by Lucy Punch as chirpy, borderline-psychotic teacher named Squirrel.