One of those "Lifetime"-esque horror stories of evil husbands in the suburbs.

There's obviously some philosophical comment on the alienating effects of ho-hum toil buried somewhere in this weird mess, which features an irritating, theremin-heavy score. But can you be bothered stifling a yawn and searching for meaning? I would prefer not to.

A rare case of an American remake that actually improves on a European movie.

A boring, wincingly cute and nauseatingly politically correct cartoon guaranteed to drive anyone much over age 4 screaming from the theater.

Lacks visual flair. But Kouyate elicits strong performances from his cast, and he delivers a powerful commentary on how governments lie, no matter who runs them.

Wilde's masterpiece, The Importance of Being Earnest, may be the best play of the 19th century. It's so good that its relentless, polished wit can withstand not only inept school productions, but even Oliver Parker's movie adaptation.

Corcuera's unflinching documentary Back of the World is a real-life horror story told in three parts.

Kosashvili's clear-eyed approach to the cultural tradition of arranged marriage balances respect and scorn, and he reconciles the comedy and tragedy inherent in Zaza's tug-of-love with finesse.

Hilarious, acidic Brit comedy.

Treads an awfully thin line between the provocative and the exploitative.

A technological landmark that couldn't look or sound better.

It accurately reflects the rage and alienation that fuels the self-destructiveness of many young people.

A tour de force that is weird, wacky and wonderful.

Most of Ultimate X is comprised of truly exhilarating footage of men -- and one woman -- pushing their bodies and their nerve to the edge.

Director Uwe Boll and the actors provide scant reason to care in this crude '70s throwback.

Though it comes from a director whose résumé includes "Flashdance" and "9 ½ weeks," these smoke-filled interludes are less erotic than today's average car commercial.

Uneven but occasionally hilarious teen comedy.

Incoherent, laugh-free comedy.

The Lady and the Duke, which drags on for over two hours, is an experiment in shooting a period film on a shoestring that turns out to be more interesting than actually entertaining.

If you've never seen a "masala" musical, you may find Lagaan hilariously bad. Cartoony acting, dreadful dialogue, obvious dubbing, and meandering but ultrapredictable plots are simply part of the Bollywood package, along with six musical numbers and a bizarre mixture of romance, comedy and melodrama.

The charming cast...brightens up the screen, but the TV-sitcom script does them in.

A documentary mosaic of kooky Americana.

An overwrought Taiwanese soaper.

It's only because the performances are so vividly entertaining -- Mandvi and Puri are particularly good -- and the painstakingly reconstructed locations so lovely that the saggier sequences are tolerable.

There's not enough here to justify the almost two hours.

A beautifully shot film with a funny French-twist ending.

Surprisingly charming and even witty match for the best of Hollywood's comic-book adaptations.

Akerman uses simple long shots and beautiful composition to give the film a smooth, fluid look. She is assisted by understated but convincing acting, especially by Testud, who is also on New York screens in "Murderous Maids."