It's a sweet and light-hearted endeavor that shows Breillat isn't a one-trick pony.

The movie is frightening not only because of the severe effects the ailment can have on the human body but also because it shows that many doctors are unable to diagnose, let alone treat, the malady.

The only thing remotely scary about Monsters is that Magnolia is releasing this boring scare-, suspense- and gore-free horror movie (which reportedly cost less than $100,000) on Halloween weekend.

Niccol’s film may not be perfect, but it shines a light on a subject many viewers will know vaguely by name — and not much more.

Even I realize that other people's babies are boring. So is Babies.

Nobody Else But You has a great deal going for it, not the least of which is Rouve, who takes the novelist's obsessiveness, depression and general boorishness and turns it all into the source of his appeal.

Return comes briefly to life when John Slattery of "Mad Men'' turns up as an acerbic yet sympathetic reclusive drunk whom Kelli meets during court-mandated rehab. But it's not enough for a film that limps along to a pretty much preordained climax.

A working-class hero of a film.

Godardian title not withstanding, Zeina Durra's not-uninteresting slice of the downtown Manhattan demimonde is too concerned with being cool to work up much in the way of political outrage, much less narrative drive.

An interesting debut for director Pesce, although it isn't worth running out to see. Wait for it to hit the small screen.

Quirky and sometimes hilarious Canadian comedy.

Against all odds, director Steven Shainberg has managed to craft an oddly compassionate -- and often very funny -- tale of an emotionally symbiotic affair.

The narrative is fractured, David Lynch-style. Everything eventually makes sense -- sort of.

It's a tribute to the sheer professionalism of this crossover charmer that it holds your interest for two solid hours.

It's a sugar cube laced with arsenic, a nasty little film whose mean-spiritedness is surpassed only by its mediocrity.

It all falls apart when the Wendigo unleashes its fury - no doubt upset at being neutered to look about as frightening as Bambi.

Steamy and solidly entertaining.

Hard-hitting and biting.

While the film contains some terrific, realistically bloody battle scenes, it has a distinctly Germanic feel, both in its epic heaviness and in the peculiar way it revises the history of the American Revolution.

Twohy serves up a hard-to-swallow second-act twist and an unconvincing back story, but the slightly overlong A Perfect Getaway recovers with a pulse-pounding climax.

Brings to mind "Working Girl" and "The Devil Wears Prada" -- but it has delightful differences only the French could conjure up, plus a musical soundtrack from jazz saxophone great Pharoah Sanders.

I loved both "Walk the Line" and "Ray," but it will be hard to watch either one with a straight face again after the skewering they get in this Judd Apatow production, which quotes scene after scene to hilarious effect.

Proves that what might be (but probably isn't) worth five minutes of your time while you're passing through the Times Square subway station really isn't worth a 1 1/2-hour movie.

The film is impeccably shot and paced, but the radical real-world implications of Wise’s agenda are never fully explored.

The second “Chicken Run” grabs you by the giblets anyway, thanks to its terrific returning voice cast of big-personality Brits, such as bubbly Jane Horrocks and Imelda Staunton (who, in the 23 intervening years, has gone from the coop to Buckingham Palace), and earnestly funny writing. Netflix, to its credit, has not laid an egg.

Examines in entertaining detail the way Hollywood has treated North American natives going as far back as the days of silent flicks.

It goes down as smoothly as a milkshake thanks to an impressive cast.

As reactions to budding sexuality go, it’s a little extreme. And it’s also contrived; Isabelle’s decision never makes any emotional, let alone logical, sense.