Like Provence itself, Auteuil is in no hurry to get anywhere, reveling instead in the southern region's brilliant light and whispering crickets. His tangy accent and evident fondness for his character make the picture enjoyable enough as it plods along, and the final act wraps things up on a fulfilling note.

Francois Ozon, perhaps France's hottest director of the moment, is often better creating stylish visuals than dramatically credible situations, but Criminal Lovers is never boring.

A pleasing fable reminiscent of G-rated nature movies of the '60s and '70s, before kiddie cinema required CGI or hip cultural references.

The overall mood of Gypsy is despair.

This film is fighting the good fight, albeit in a rather heavy-handed way.

Ken Marino of "Dawson's Creek," who wrote the somewhat autobiographical script, plays one of Rudd's pals.

The story unfolds as slowly as does life in Cayeux. There's minimal dialogue and even less action.

As an addiction memoir, it works well enough; there are a handful of deeply felt moments.

The film’s mix of elements of “National Lampoon’s Christmas Vacation” and “Bad Santa” is amusing.

Unfortunately, the mind and motivation of Otomo -- remain a mystery.

There is still enough venom spilled in August: Osage County to make this drama relatable to anyone who’s suffered through a wildly dysfunctional family dinner — and who hasn’t, especially at this time of year?

Cédric Klapisch’s film is meandering and cutesy, but his characters are endearing and every so often he comes up with a deft insight, such as how this city’s streets are like a flayed zombie.

Magnificent shots of waterfalls and other natural phenomena abound, but it's far too late in the history of nature photography to expect anyone to gawk at them.

The facts (including Protess’ eventual resignation) still make this a worthwhile examination of a narrative that actually may have been too good to be true.

Transcends ironic grunge-glamour and achieves a beguiling combination of dark comedy and genuine sweetness.

Big Game is goofy fun, whether Jackson is rolling down a hill in a freezer, the kid is trying to stop a bazooka with an arrow, or we’re witnessing other stunts that are just too preposterous to describe.

One of the most beautiful movies you're likely to see this year. And the cast members, all amateurs, are first-rate.

Stengarde gives an arresting performance as a mentally unstable woman.

Although director Lee Daniels dials things down a bit here, subtlety is not what he does. That strategy worked for “Precious’’ but turned his more recent “The Paperboy’’ into a feature-length howler.

As a French Resistance thriller, Free Men is so-so, but it is driven by a mischievously interesting idea: that Muslims and Jews have more in common than they normally allow.

It wouldn't be right to say that, half an hour after Kung Fu Panda 2 ended, I was starving for laughs again. In truth, I was starving pretty much all the way through.

It's all entertaining enough, but don't look for any hefty anti-establishment message in what is essentially a whip-crack of a buddy movie that ends with a whimper.

Basically it's an acting exercise - a one-set rendition of that old stage and movie standby, the ex-convict struggling to go straight who's tempted to attempt one last score.

Less of a "You go, girl" manifesto than its title would suggest.

Though far too long for its wisp of a plot, this stylish film has a nerve-cinching grip that makes it more alarming than most horror flicks, let alone most movies about a couple having a tiff.

Cam (based on the director’s real-life father) is so charming and gifted in various ways that it’s easy to enjoy this fanciful look at a bohemian mixed-race family.

Despite pitch-perfect performances, the craft of Moretti's direction and his honorable intentions, The Son's Room was not especially moving.

Filmed on abstract sets, it’s full of playful touches, such as lines delivered in front of a screen that looks like a comic-strip panel, and glimpses of a mole puppet popping out from a fake lawn.