Tedious, amateurish and hilariously ill-timed film.

The awkwardness and drama of finding and losing love has rarely been portrayed so gracefully on screen in recent years.

Visually unimpressive and laden with awkward dialogue; its primary interest doesn't lie in its storytelling but in its sociology -- in the window it opens onto a Muslim Middle Eastern society in transition.

So unsparingly honest in the way it treats human cruelty and resilience that it makes fashionably bleak films like "In the Company of Men" and even "Boys Don't Cry" seem unforgivably trite or exploitative.

Eloquent testimony about the moral ambiguity of war from veterans, human rights officials and Iraqi refugees, several of whom worked as extras on "Three Kings."

The latest, and let's hope the last, in the raft of uninspired, quickie Bush-bashing documentaries churned out by producer Robert Greenwald

Truth is, this story of the out-of-control director and his inexperienced, enabling studio heads -- who allowed Cimino to lock them out of the editing room, hoping he would deliver another Oscar winner like "The Deer Hunter" -- is more compelling than Cimino's long-winded epic.

Writer-director Patrick Hasson whips up a surprising amount of fun.

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."

Technically competent. What it needs is an original script.

A cheesily amusing prequel to the 1993 film which starred Al Pacino as a Puerto Rican drug kingpin in Spanish Harlem, in one of his most entertaining performances. This time around, Jay Hernandez delivers a serviceable impression of a much younger version of Pacino.

A sweet comedy with a bright cast and few surprises, the film did well in China, where it was aimed at teenagers. Since Hilary Duff isn't in the cast, its success probably won't cross over to America.

The director, 30-year-old Dalibor Matanic, allows himself a few weepy moments, but mostly the script stays on target, accompanied by strong acting and lensing.

The script is fresh and accessible - even for folks who don't know Croatia from Cambodia - and it is put over by solid acting and direction.

As much as we like Alec as an actor, it's hard to imagine that any amount of editing and reshooting under his supervision could salvage his complete ineptitude as a director.

Mary is a mess. An interesting one, yet still a mess.

Unlike the modern glamour-vamps of "True Blood" and "Twilight," this group of smitten and bitten men are no fun at all. That is, unless you like heavy breathing, underwear sniffing, cringe-inducing blood sucking, murder by stabbing or hanging, plus grainy, underexposed cinematography and stilted acting.

Giving Mrs. Tiger Woods a run for her money as the most humiliated celebrity of the month, Russell Crowe accepts a third-banana role in the laughable weepie Tenderness.

Mendoza gives a heart-tugging performance as Mariana.

It's an interesting story, but the presentation is more like a home movie than something you'd pay to see in a theater.

A shoddy, slapdash look at issues raised by the Great Depression that neither gives an adequate overview nor manages to argue a coherent thesis.

The actors are personable, but they're burdened with a script full of stereotypical characters and offensive jokes. By the time Christmas Day arrives, this movie will thankfully be long forgotten.

Only in his early 20s, Zephyr Benson makes a remarkably assured debut as writer, director and star of Straight Outta Tompkins, his tongue-in-cheek title for his past as a middle-class drug dealer in lower Manhattan.

Despite the blazing guns, this script is not so tough.

Whether you dig this aggressively campy horror-comedy is, to some extent, dependent on your squeamishness.

Those People also suffers, perhaps, from a lack of timing; Kuhn’s group of one-percenter millennials harkens back to early Whit Stillman or, more recently, “Gossip Girl.”

This British sci-fi thriller is like the violent offspring of “Black Mirror.”

Making an outlaw flick — not so easy, is it?