It’s a compelling story, and Minac has told it before, notably in 2002’s “The Power of Good: Nicholas Winton.” This new documentary seems aimed at a classroom audience.

An exploration of the way the sins of the father trickle down to his offspring, is dense with quirky characters and subplots all woven into a rather heavy-handed meditation on the evils of globalization.

Disney's disappointing Atlantis, sadly, is a lot like much of the studio's recent animated output: eye-popping visuals and great vocal characterizations sunk by a dead-in-the-water script.

Osment, playing a fatherless 14-year-old, has entered the sort of awkward adolescence that afflicts so many male child stars - and seems utterly intimidated by his esteemed co-stars.

Can that achingly abstract thing called love be captured in a beaker or dissected like a frog splayed on a slab? That's the belabored premise of this dorky, clinically structured romance cooked up in the Sundance Institute's screenwriter and filmmaker labs.

Spits out enough scares and twists to maintain our interest, but the film's psycho-sociological layer is almost as cheesy and unconvincing as its low-rent action scenes.

Tai Chi Zero is loads of fun to watch, especially a battle in which watermelons, bananas and other fruits and veggies serve as flying weapons.

Certainly nails the era, right down to a lengthy pan across a none-too-appealing dinner buffet.

The film slowly builds up to Justin's first appearance at Madison Square Garden, where his show sold out in 22 minutes.

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

As a full-length feature, Casa is simply a funny concept that starts to go stale around the 10-minute mark.

Sensory gluttony is reason enough to see a movie, and few epics overstuff the eyes like this one.

Bears all the signs of having been composed by an inferior race of alien screenwriters from the Hackulon System.

A testosterone- and cliché-fueled epic that will have some hoping for sudden death as it stumbles toward the three-hour mark.

Overlong and not well-acted.

There is, of course, a maximum of blood and gore. Sometimes the director's ideas work; often they don't.

The Spanish Inquisition was better summed up in an eight-minute musical number by Mel Brooks than in the entirety of Goya's Ghosts, an across-the-board disaster from one of my favorite directors, Milos Forman.

Sweet, often poignant little film.

An engaging documentary.

Apart from some irritating and redundant camera tricks early on in the film, director Blair Treu plays it white-bread straight, delivering an uncommonly inoffensive, after-school-special-style teen flick.

Tendency to pretentiousness.

An embarrassing misfire...feels like a long, slow TV pilot about L.A. twentysomethings, only it lacks the polish and wit of your average sitcom.

The cryptic finale raises more questions than it solves. But She's One of Us is such a fine work that answers aren't necessary.

Why doesn't anybody just buy a gun? I guess the female characters spent all their money on tight tank tops.

Less fun than any circus movie I've ever seen - and I've seen lots. Maybe they should send in the clowns.

Very slowly builds to a powerful climax for this arty cross between "Straw Dogs" and "First Blood."

An explosion of images, mixing seedy, hand-held reality with groovy grindhouse imitations. Most of the shots are vivid, some are even thrilling.

Mostly, though, it’s the same old story: Bad mutants versus good mutants, with the fate of us humans — mostly off-screen, disturbingly expendable — hanging in the balance.