But while the belly laughs are few, there are numerous chuckles and it's quite watchable, thanks to solid performances by Damon (who plays it mostly straight in a rare comic role) and Kinnear.

Director-writer Pablo Tapero keeps the proceedings low-key and realistic. He doesn't hit you over the head with his ideas, yet he manages to say a lot about human nature.

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 film fails to represent how singular and influential the late Giger is in popular culture.

As a snarky, stylish Santa Fe couple, Paul Rudd and Steve Coogan deploy a wit drier than the sprawling landscape surrounding their desert mansion. If you enjoy your comedies devoid of easy sentimentality (as this reviewer does), this one’s for you.

Offers plenty of fun, nostalgic footage of 1950s pro lady wrestlers kicking butt.

Buzzes around in random menace for an hour until its third act, when - zzzzzt! - it flies straight into the zapper.

As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.

Overall, however, it's sappy and predictable -- fun to watch, perhaps, but instantly forgettable.

Deserves high marks for political courage but barely gets by on its artistic merits.

Not so good is Lily-Rose Depp as French princess Catherine. Say what you will about francophile Johnny Depp — he’s never boring. But his daughter, with her vacant expression, lacks a certain je ne sais quoi.

Tatiana Maslany (“Orphan Black”) is nearly unrecognizable as Petra, Silas’ longtime girlfriend caught in Bell’s roundup, and Bradley Whitford shows up in the latest of his silver-haired villain roles as a sketchy lawyer.

A crowd-pleasing ensemble piece, whose story goes exactly where you want it to.

A misguided exercise - a crude merger of "Fiddler on the Roof" and "Schindler's List" that somehow reminds you of "Hogan's Heroes."

"The Sixth Sense" was no fluke. Unbreakable, writer-director M. Night Shyamalan's dazzling reunion with Bruce Willis confirms he's one of the most brilliant filmmakers working today.

Delivers a sugar rush without the calories.

Egoyan treats the Armenian genocide and its aftermath as a metaphor for cruelty and denial -- an exercise in either pretension or timidity that exploits this tragedy.

Offers an idyllic, comforting surface of tree-shaded lanes and sunshine-dappled fields - but a disturbing tale throbs beneath.

Manages to entertain while saying something about loneliness and culture shock.

Appalachian mountains get blown up to extract coal in the documentary The Last Mountain, a film in which activists are at least as hot as the TNT.

It's never dull though, and the familiar characters and stock motivations are convincingly put across. And there's always Xu, who's turned to acupuncture to suppress his empathy, as you wait for the inevitable moment when suppressing it won't be enough.

Intermittently brilliant, intermittently hilarious -- and occasionally tedious.

Now that even Woody Allen has stopped making "Woody Allen movies," you would think that wannabes would move on, too.

Thornton is in great form as the sardonic Vic, whose disposal of an apparently dead body in a trunk is a hilarious set piece.

The unusually explicit dungeon scenes with Pablo, a leather daddy and a fellow slave may whip a rather specialized audience into a frenzy. But for others, A Year Without Love will be a less pleasurably painful experience.

Just as the story is minimalist, so too is the documentary-like film's look: long static takes and tons of close-ups. An epilogue allows viewers to come to terms with the film's tragic ending.

Taps into our worst fears of what could happen during a quiet holiday with heart-thumping realism.

At nearly two hours, Big Man Japan is clever (in a sick sort of way) but overlong. It needs judicious editing -- more mockumentary, fewer superhero antics.