Though Binoche does very solid work, she can't sell the idea of her and Law as a couple; the chemistry isn't there. Not much else rings true in Minghella's screenplay, which is full of coincidences and speeches about race and class.

Lee's incendiary and brilliant new film.

Sheen's throwback portrayal is appealing enough, but flat characters, dull revelations and uninvolving complications make this deliberately small film feel nearly microscopic.

When an 80-year-old director turns his attention to death, you hope for some insight, or gravitas, or even whimsy or anger. Hereafter has none of that.

The film is overstuffed with comedy material, though. There’s a time-period-appropriate gag for everything — the TV is just a hole in the wall that they watch birds through — and the jokes are nonstop. The best moments of animated films are often the most serene.

A slow, self-consciously low-key, very dull film that strains for eeriness with long silences and affectless performances.

Coppola sure knows his late-'60s cinema and he's meticulous in reconstructing the style of the era.

Just Brit filmmaker Shane Meadows having some fun with the conventions of the spaghetti western.

Energetic, often very funny comedy filled with sharp, vivid performances by a terrific ensemble cast.

A tabloidy, nail-biting thriller.

Hanks is terrific giving his first flat-out comic performance in years as a wildly eccentric criminal mastermind.

What really wrecks Wolfgang Petersen's Troy is some of the worst casting in recent Hollywood history: The lackluster ensemble hired by the director is overwhelmed by the generally impressive sets and crowd scenes, by the task of playing epic heroes and by David Benioff's rambling, tone-deaf screenplay "inspired by Homer's 'Iliad.'"

An Italian romantic comedy that's irresistibly set in Mole Antonelliana, the cavernous Museum of Cinema in Turin.

Middleton deals with the various male and female perspectives in an even-handed way, concocting a slice of New York life that's frothy as meringue pie.

In-depth performances by De Niro and Gooding Jr. provide the oxygen for this extremely shipshape biopic.

Phoebe in Wonderland happens to be at least partly a Lifetime movie, but this special little film is no disease-of-the-week tear-jerker.

Don’t expect a single novel element here — everything is recycled from the junkyard.

Albert elicits good performances from her cast, but she fails to give viewers reason to care about their characters.

Beautifully shot by Michael J. Ozier, the dominating taste in Bottle Shock is Rickman's beautiful performance as a snob - a snob who is secretly open to being delightfully surprised.

Tasteful and gorgeously photographed coming-of-age story.

While there are plenty of laughs, Hunt doesn't play this for farce. Even Midler gives perhaps the most restrained, and arguably the most winning, performance of her screen career.

Zalla constructs a suspenseful movie with no intention of sugarcoating the daily hardships of New York's underclass.

Director Michelle Esrick, who followed Wavy around for 10 years, journeys from Manhattan to Woodstock to Nepal to the hills of California to tell Wavy's story. The journey is entertaining, whether you witnessed the 1960s firsthand or heard about it from your grandparents.

The tone and focus of David Gordon Green’s Manglehorn careens around so much it’s hard not to end up as irritable as its title character.

Patel has his most rewarding role since “Slumdog.’’

Where is Wright’s mastery of tone and zany-but-unnerving quick-cut style? It’s been replaced by a cacophony of assembly-line sci-fi noise in a blah “Blade Runner” that, depending on the scene, is either stupidly serious or seriously stupid.

It's suprisingly flat.

Winter hits his stride detailing how the music bigwigs hung Napster out to dry, but couldn’t do a thing about their industry’s permanently altered business model. This exercise in recent nostalgia (the original Napster went bust in 2002) might have been better if the tart cynicism of that section had shown up earlier.