I adore Frances McDor mand, but she's seriously miscast in a title role Emma Thompson could play in her sleep.

Performances are up to par, but the story unfolds conventionally - it lacks the fragmented fury of its predecessor. You might call it "City of God Lite."

You can't quarrel with the lensing and acting, but the overabundance of coincidences keeps Vivere from reaching its full potential.

No surprises here, though the stars make it surprisingly watchable.

Chicago 10 has interesting moments, but basically it's a teaser for Steven Spielberg's upcoming feature on the trial.

It's pretty hard to make a dull movie about Henry VIII and his complicated love life, but The Other Boleyn Girl, a failed Oscar contender, manages to do just that, with yawns to spare.

Under Mark Palansky's uninspired direction, magic eludes Penelope in scene after scene.

Goes up for the dunk and misses the hoop, the backboard and the point. Instead, it manages to both strike out and get sacked. Whose idea was it to remake "Slap Shot" a la Jerry Lewis?

The story, based on a best-selling novel, has familiar overtones; but Kormakur overcomes them with stylish direction - Iceland's natural beauty looks great - and a gripping performance by Ingvar Eggert Sigurdsson.

Bahrani's unsentimental film is perhaps most interesting as a look at a colorful, little-known world that has recently been targeted for urban renewal.

Starts to get a bit preachy as it works its way toward a climax heavily influenced by "Rushmore," but it's still well above average for this type of film.

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.

Featuring eyeball-rolling performances by Vivica A. Fox, Patti LaBelle, Clifton Davis and the singularly named Leon, Cover would be a candidate for the year's most unintentionally funny movie so far - if it weren't also the most homophobic.

A love letter to the technology and movies of the 1980s as well as celebrating the DIY ethos of the YouTube generation.

Based on the true story of the world's largest counterfeiting operation, The Counterfeiters is full of the weird details that, though unsurprising on one level, are so jarringly wrong that they seem fresh: As a reward for producing 134 million pounds sterling, the prisoners get a pingpong table.

Jacques Rivette's film is full of painstaking historical detail, but the behavior of the two nonlovers is mired in inaction and emotionally incomprehensible.

Throws in enough hurtling bodies, screaming bullets and totaled cars that it at least holds your interest, so it passes the worth-watching-if-you're-stuck-on-an-airplane test.

Romero's we're-all-doomed-and-maybe-we-deserve-it pessimism is so extreme he would fit right in with a real group of brain-eaters: the French.

The movie is stolen by 11-year-old Daniela Piepszyk as tomboy Hanna, one of Mauro's new friends. She has a face in a million.

On the plus side, Definitely, Maybe has an appealing cast, some amusing scenes and at least tries to do something different.

A totally ridiculous and incoherent sci-fi adventure.

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.

A modest and charming comedy from Israel.

Excruciatingly lame and laughless romantic comedy.

Great actors make the craft look easy. In the Paris Hilton comedy The Hottie and the Nottie, acting looks very, very difficult.

As formulaic in its own way as anything mainstream Hollywood turns out, In Bruges is also a fish-out-of-water comedy.

A 2 1/2-year-old collection of mediocre stand-up routines and dull backstage chatter, Vince Vaughn's Wild West Comedy Show demonstrates why comedy clubs require you to have a couple of drinks.

Turns out to be formulaic and broad but also skillfully paced and big-hearted, with a sharp cast of comics that makes the most of a sunny script.