This engaging, funny documentary catches up with Beltracchi as he and his wife are serving time in an “open” prison in Europe.

There's a geyser of ambition in the visually stunning The Fountain, but the story of a thousand-year quest for the Fountain of Youth eventually trickles out.

May have a storyline as generic as its title, but in the explosive Pacino and the smoldering Farrell (who nearly stole "Minority Report" from Tom Cruise), it has a pair of stars who are not as easily dismissed.

Far from a touchdown, but you gotta give points to any movie where a character describes its climactic game as a "muddy snoozefest."

For a kiddie adventure, the movie, based on the Jeanne DuPrau book, has a pleasingly moody, eerie quality.

You could do worse for a date movie than Gurinder Chadha's campy, exuberant cross-cultural take on Austen's much-filmed 1812 novel.

Winocour skillfully films Augustine being exhibited for other doctors in several disturbingly erotic scenes, but elsewhere Soko’s stolid, one-note demeanor takes a toll. The script, which gives Augustine no background and mostly shows her either being “treated” or having an episode, doesn’t help.

A crowd-pleasing comedy that isn't going to win any awards for originality.

A good-looking, if imperfectly plotted, coming-of-age feature -- that doesn't quite manage to sidestep the clichéd sport-as-metaphor-for-life trap.

By far the film's most interesting subject is the king's eldest daughter, 18-year-old Princess Sikhanyiso, who likes to be known as Pashu. She's a self-styled rapper who goes to a Catholic college in California and acts like the spoiled rich kid that she is.

So eager to please, it practically licks you in the face.

A lovely, intelligent film from Spain about recognizable human beings with real-life problems.

Energetic, often very funny comedy filled with sharp, vivid performances by a terrific ensemble cast.

Falters when it gets involved with supernatural gobbledygook.

A film that parents can confidently and with pleasure take their little ones to see - but which is not quite a good movie.

The film's earthy frankness is refreshing.

Wilde's masterpiece, The Importance of Being Earnest, may be the best play of the 19th century. It's so good that its relentless, polished wit can withstand not only inept school productions, but even Oliver Parker's movie adaptation.

"Love, Actually" meets "Trainspotting" in Intermission, an edgy Irish romantic comedy that deftly juggles a dozen interconnected story lines.

The season's first genuine guilty pleasure.

Not as elaborate or entertaining as Anderson's last feature, "Transsiberian," but it's got enough shocks for an entirely respectable addition to the post-apocalyptic genre.

As Coach Haskins would say, it wins because it sticks to the fundamentals.

The dialogue isn't ridiculous, and sometimes it's witty: A cynical cop (Donnie Wahlberg) doesn't buy Jamie's theory that the doll had something to do with the murder: "The mystery toy department is down the hall. This is the homicide department."

Shailene Woodley, already a subtle and rangy actress, easily carries the film as Hazel.

Undercut by funereal pacing and an ending that seems more than a little contrived.

Smooth as fresh asphalt, the film makes us pine for a pothole or two.

On the one hand, Black Book has the artiness of subtitles, the dramatic weight of history, and the desperate heroics of Jews hiding from Nazis. On the other hand, it has Paul Verhoeven.

Any movie that finds a plausible reason to give Lindsay Lohan a nun's habit and a machine gun is worth your attention.

Lifelines is a tiny movie, made for $385,000, but it strikes enough strange chords to make it resonate.