The best parts of this awkwardly paced film are Bell’s scenes with Enrico Colantoni, who returns as her private investigator dad, concerned she’s throwing away a bright future by getting sucked back into her old life.

Antarctic Edge will make good viewing for science classes of all levels, and ideally inspire a new generation to continue this hardy mission.

It's brilliant work.

See his movie now, brag about your discerning taste for undiscovered talent later.

The film begins by telegraphing impending doom (and wraps up, underwhelmingly, with thriller clichés).

Their '50s-style comedy mugging not only don't come across to Americans, it's hard to believe even New Zealanders would care.

The Yellow Handkerchief tells a timeless fable, and tells it extremely well.

The undeniably sweet film, based on the wonderful West End musical, fixes some of the (much better) show’s flaws, but loses its humor and energy while it wallows in sadness.

Has a few too many coincidences and tends to be sugary, but it has an important precautionary message in this age of terror.

Unlike American movies about challenging yourself, it's all played in a minor key.

The biblically themed Seraphim Falls moseys along very slowly, climaxing with a lengthy series of flashbacks and an appearance by Anjelica Huston as a medicine woman who may or not be the devil.

A witty mix of "Frankenstein" and David Lynch's "Eraserhead" - with a tip of the hat to Hitchcock's "Saboteur" - Puzzlehead is an indie delight.

The film opens with a disclaimer: "Although based on real events and people, this is a work of fiction." There should be another warning: Unless you're up to date on French politics, a lot of Googling is needed to follow the players.

Aside from an uninspired script by Frank Cotrell Boyce, is that none of the assembled actors really has enough star presence to compete with the sheer spectacle.

An interesting - but very slow paced - thriller.

The film looks nifty, but the flat and unemotional English-language dialogue lessens its impact.

It feels less predictable and derivative than it is, thanks to Gus Van Sant's deft direction and two fine central performances.

A not particularly revealing documentary.

While it is obvious that the filmmakers went into this project with an agenda, they did try to give each side a chance to have its say.

A lavishly mounted blockbuster that has little personality of its own except on a purely visual level.

If your film is as downbeat and deflated as this one, you had better be leading up to a more interesting insight than, "The older I get, the more I know that I don't know anyone."

Harper and the film's director, Jeremy Kagan, try valiantly, but they are unable to bring Meir to life or hold viewers' attentions.

A warm-hearted and ambitiously honest look at the pros and cons of monogamy, but it tends to be understated to the point of underwhelming.

The title of the overlong Fifty Dead Men Walking refers to lives saved by Sturgess' character, who is still in hiding years later.

CSA would have benefited from a bigger budget and better actors and it gets weaker as it goes along, but it's still thought-provoking stuff.

Watching The Photograph is like looking through a friend’s old photo album — it’s not as exciting as your friend thinks it is.

They should sell antidepressants along with the popcorn at theaters showing Cecilia Miniucchi's Expired, one of those Sundance "comedies" that make you contemplate slitting your wrists.

Especially worthwhile for the chemistry between Bell and Myles.