The film can be rough going for those who know little of Berger’s work. That’s especially true of the second part, a stupefying collage about Berger’s home in rural Quincy, France.

Deschanel manages to make Winter Passing almost matter. That's real talent.

One of the funniest films of the summer so far, it tells the story of five scruffy Peter Pans, who have been playing the same game of tag for 30 years. Sounds ridiculous, right? Well, the tale is (almost) all true.

I'd guess Turtle: The Incredible Journey will appeal most to kids, though they will have to wrestle with 3-D glasses.

This is a useful primer on what went wrong — and right — in 2008.

An interesting failure, not a fascinating one.

If Martin Scorsese were 30 and a Los Angeleno, he'd be making movies much like this one.

Oh, and one more thing the comedy of Jackass 3D has in common with "The Divine Comedy": Neither of them is funny.

A treat for aficionados of oddball movies.

Tends to run low on steam well before the end, though Waters gamely tries to pump things up with filthy novelty tunes and clips from old stag films.

Produced for peanuts (and looks it), but offers enough laughs to please even those who don't usually venture into downtown art houses.

It busts the credibility meter early on, quickly becomes preposterous, and then really lets its imagination rip.

Fatally mild, slow and factory-made, Million Dollar Arm belongs somewhere less competitive than the multiplex. Like the ABC Family Channel — the entertainment industry minor leagues.

Plodding drama.

It's condescending, it's vague, it's unfair and, ultimately, it's pointless.

There are so many monologues about obnoxious behavior that they begin to lose their luster - something I'd never have thought possible.

Time has robbed Blume’s subjects of shock value, but her perceptiveness hasn’t dimmed. The movie’s sincerity carries it along, and makes this story endearing despite its filmmaking clichés.

Maher's sense of humor deserts him in the end, though, when in an apocalyptic montage of fire and hate (bin Laden, Pat Robertson), he suggests all religions are equally bent on destruction of the Earth. It's fatuous to suggest that the Iraq war was launched because of religion or that belief in the Book of Revelation is the same as organizing terrorist attacks.

It's the snobs against the slobs at a Martha's Vine yard wedding in Jumping the Broom. Mostly, it's a tie: Both sides are equally irritating.

A satisfying, big-hearted celebration of diversity that will brighten holiday moviegoing.

Movie adaptations shouldn’t require that you know their source material. But in the case of The Glass Castle, it’s impossible not to just say it: You’re better off reading the book.

There have been many untraditional film adaptations of Shakespeare's, but few have been as unorthodox as this one.

What’s different from the previous entry is that humor here, despite a formulaic plot, is balanced with surprising dramatic heft.

Jude Law gives arguably the worst performance of his career as Wolfe in Genius, the ham-fisted directing debut of noted British theater figure Michael Grandage, bombastically adapted by John Logan (“Gladiator’’) from a biography by A. Scott Berg.

Even for a horror movie, The Crazies is a bore, and we're talking about the most boring genre this side of dysfunctional-family indie drama.

The beautifully crafted Adam offers no pat or easy answers.

Very sentimental.

Simply not as involving or moving as it should be.