Unlike traditional zombie romps, these crazies don't stumble around mindlessly, noshing on human flesh. They look and act like normal people - until the second they go bonkers.

The film has enough funny lines and weird situations - some comedy business with a sex chair lovingly constructed by the Clooney character is the highlight - that it could age into a cult film like "The Big Lebowski."

It has grit.

After two lousy sequels, here’s a pitch for Warner Bros.: “The Matrix Retirement.”

Disappointing.

Pays off with emotional dividends well worth the time investment.

Scorsese has great fun with a story that in the final analysis does not really demand to be taken any more seriously as history than "Inglourious Basterds."

If you want an introduction to the director's work, you're better off with "La Belle Noiseuse" (1991) and his masterpiece, "Celine and Julie Go Boating" (1974).

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

It's a sobering slice of life that puts actual faces to local violent crime statistics.

I have to confess that this surreal departure by the iconoclastic filmmaker tried my patience more than a bit.

A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.

One of the more interesting low-budget experiments Steven Soderbergh has indulged in between flashy Hollywood entertainments.

The film mostly avoids easy laughs or simplistic characters, reminding you how few black movies claim the huge middle ground between chardonnay-sipping buppies and hardened criminals.

An improbable but hilarious combine of losin’-it comedies and the rarefied, Europhile air of the Cinema du Twee.

Mostly a second-rate action picture that's content to use apartheid as a colorful background.

Picture "Fargo" played with no sense of comedy, and you'll get some idea of the absurdity of this drunken floozy, clicking and wobbling on high heels, often with bits of her anatomy hanging out, trying to pull off the perfect crime.

There are a few scares, but not enough to make up for the murky script.

Too much of the film is taken up by creaky plot devices and one sibling vowing to track down and talk to another one to resolve a problem.

A real pleasure, a sweet, funny, ensemble comedy...utterly authentic.

It's a funny and occasionally poignant movie.

An entertaining piece of pulp fiction.

Overrun with malicious goblins, a vengeance-minded pig, a fast-moving troll and a giant horned ogre, but the true source of terror is scarier than all of these combined: New York real estate prices.

The crime and aftermath (based on a real story) are the best parts by far, but these come well after many overextended scenes of selfish, squalid people treating one another like dirt.

Only marginally interesting.

The classical music is soothing, the cinematography handsome and the acting strong, but the Swedish coming-of-age saga Simon and the Oaks is burdened with a sappy, soap-opera-ish script.

In their refusal to be up-to-the-moment, the Narnia movies are bound to age beautifully, perhaps much more so than the two Shrek films Adamson directed.

Tilda Swinton narrates this oddball, meandering essay film.