The plot isn't a new one (remember Lady Chatterley?), but Corsini gives it a few twists and turns that keep matters fresh and suspenseful.

If you're looking for great action scenes, you've found them. But if you desire more than eye candy, such as character and plot development and historical accuracy, you'll have to look elsewhere.

This movie is so self- combustingly bad it could never be good. But it's damn great fun to watch the thing go up in flames anyway.

Say a prayer that there's no "Hatchet III" in the future.

Hot Summer Days makes a lukewarm case for global warming. It's a better argument that the production of mindless fluff is not just limited to Hollywood.

The movie is at its best when Gekko gets back into the game, with his impish smile and his perfect hair.

You Again could be taught at film schools as an example of how not to make a movie. And how not to humiliate veteran actors.

As a former president of the United States remarked, "Childrens do learn," and what they learn in the heartbreaking yet thrillingly hopeful documentary Waiting for 'Superman' is that adults are finally starting to notice how badly kids have been betrayed by teachers unions.

On a technical level Buried is impressive, at times blisteringly suspenseful.

The movie is still a mess, stumbling from comic-relief scenes that aren't funny to a job-training interlude in which we learn that, among other things, owls make excellent . . . blacksmiths?

This multi-pronged labor of love doesn't always work, but it often does, sometimes in ways that take your breath away.

From the rapid-fire, purposely unreadable opening credits to the final baby POV shot of a birth, this is a dazzling and brutal exercise in cinematic envelope-pushing.

An exciting and extremely well acted film. Even a nearly unrecognizable Blake Lively impresses in the key role of Jem's sister and Doug's sometime girlfriend.

The ruefully funny Jack Goes Boating, which, refreshingly, takes a generous view of its flawed characters, is a must for us many Hoffman fans.

Writer-director Will Gluck has written a stiletto-sharp, zinger-filled script that recalls "Mean Girls" as well as the films of John Hughes, which are sampled to amusing effect in a clever clip montage.

I won't reveal the twist -- but the marketing crew is aware that their only chance of selling this non-mind-blowing documentary about the people you might meet on Facebook is by promising a big surprise.

One of the most beautiful per formances I've seen this year is given by Blanca Engstrom in the Swedish coming-of-age charmer The Girl.

The meditative Swedish movie The Anchorage takes minimalism to the maximum.

Katie Aselton has achieved the seemingly impossible. She's turned a movie about sex into a boring, talky snooze.

Its personal, newsmagazine touch will make your heart ache for its cross-section of humanity.

Science fiction movies don't come much more ponderous than the beautifully filmed Never Let Me Go, which reduces the debate over genetic engineering to a mild, moist romantic soap opera.

When I'm Still Here reached its climactic moment -- Joaquin Phoenix puking into a toilet -- I had never before felt quite so much like a toilet.

If you're old enough to pluck gray hairs, you may find yourself rubbing away a few tears.

The Romantics isn't as consistent or as well-rounded as its parent, "The Big Chill," or as entertaining as its less literate but more extroverted cousin, "St. Elmo's Fire," but with its tart dialogue and its perfect ending, it is sensitive as well as sagacious. It's a rare combination.

Splashed with Monte Carlo glamour, physical comedy and nimble scams, the movie rolls along enjoyably to its goofy but endearing big scene: an homage to "Dirty Dancing."

This rousingly sweet little flick is certainly nothing to go out of your way to avoid.

The film is conventional in style and is likely to mean more to the sadly forgotten musician's fans than to others.

At last, someone has figured out that there might be laughs in teens trying to lose their virginity.