De Palma is extreme, visceral, usually in bad taste but almost always riveting. De Palma's Redacted, a no-budget fake documentary that imagines the circumstances behind a real rape and murder of a civilian girl committed by US troops in Iraq, is a piece of anti-war propaganda whose aims I don't agree with, but it jolted me nonetheless.

A valuable reminder that for nearly three decades, basketball was dominated by Jewish players - and coaches who found the sport an ideal vehicle for assimilation in the United States.

The Manzanar Fishing Club has enough interesting footage for perhaps a 15-minute segment of a TV news magazine. Beyond that, my eyes started to glaze over with endless talk about rods, reels and bait.

The siblings react with humor and horror to what they discover. So will many viewers of this self-indulgent but engaging work.

The second half is therefore much more interesting than the first; even so, the whole movie suffers from a lack of narrative momentum and a surfeit of wordless shots of men exchanging deep, meaningful glances.

Proving it’s still possible to stick to the broad contours of “The Graduate” story and come up with something brightly endearing, 5 to 7 is a memorable directorial debut for “Mad Men” writer Victor Levin.

There’s nothing wrong with some silver screen sorrow, but not when it amounts to indecisive mush.

You couldn’t ask for a more fun summer popcorn movie than White House Down.

Berry wears two hats effortlessly. Her direction is gritty and assured, and her leading performance hasn’t lost an ounce of that star quality — to simultaneously be so weak and so strong — that won her an Oscar for Monster’s Ball.

A deadly dull, by-the-numbers rendition of the Nativity story.

A ragged piece of filmmaking, but the odds are you'll have as good a time watching it as Nicholson and Sandler seemed to have making it.

This ludicrous Quentin Tarantino-chosen low-budget movie features choppy editing and an amateurish script, and it switches strangely back and forth between dubbing and subtitles.

Director-co-writer Fabrice du Welz has taken a clichéd premise and infused it with a stylish perversity that should have horror fans squealing with delight.

Candis gets some wonderful performances from his impressive cast.

Viewers are either going to walk out after 10 minutes or, like this tolerant critic, get caught up in the sordid lives of the three misfits and stick around for the ambiguous ending.

Fails to deliver the dramatic punch.

The problem lies with the paucity of sizzle between the romantic leads, Renée Zellweger and Ewan McGregor. They just don't look like they're having any fun together, particularly the bony Zellweger, who has trouble filling out the wow-worthy ensembles and perpetually looks like she's sucking on a lemon.

It's awkward, listless and fails to reach any sort of climax.

Woody Allen's most purely entertaining film in years.

Just because the goods are made in Italy doesn't mean they're designer-quality; Don't Tell is glossy on the outside, cardboard and staples on the inside.

A must for Jaglom fans. For other viewers, it will depend upon how much they can take of Jaglom's improvisational style and Frederick's over-the-top, tear-filled acting.

Complaining about the gooey and generic The Holiday is as useless as railing against fruitcake - this is a slick, throwaway chick flick designed to provide nothing more than mindless diversion between bouts of shopping.

Without question, the follow-up isn’t as hilarious as the original. Who honestly expected it to be? And a good 20 minutes could have been trimmed. But “2” is warm and comfortable, features another untethered performance from Sandler that only he can give, and is less lazy than I feared.

Brewer, who romanticized the world of pimps and ho's in "Hustle & Flow," is obviously out to push some politically incorrect buttons with this ludicrous - yet, in the end, sweetly involving - Southern Gothic pulp yarn.

Ever wonder what "Scrubs" would've been like if Zach Braff's fledgling-doctor character was psychotic instead of goofy? I get the feeling John Enbom, screenwriter of The Good Doctor, has.

The Sons of Tennessee Williams, which offers touching interviews with many older gay men, somewhat awkwardly connects this history with the efforts of a gay Mardi Gras crew to keep going in the wake of Hurricane Katrina.

May be momentarily entertaining, but don't expect anything profound from the lightweight saga.

A disarming Spanish dramedy of late-life love, speaks a universal language.