Examines in entertaining detail the way Hollywood has treated North American natives going as far back as the days of silent flicks.

The film has no ready answers, although it becomes abundantly clear that both those for and against charter schools are more concerned with covering their own asses than with helping students get a quality education.

Neil Jordan's Ondine has a split personality. It starts promisingly as a fantasy but ends disappointingly as a thriller.

Smart, scary -- and at times very funny -- horror movie.

Mostly, this frantic film is yet another attempt at “Spinal Tap” silly. At times it goes for the heart of “Almost Famous,” and its sense of rock is that of a barely acquainted observer.

On several levels, this film is a real-life horror story that puts most Hollywood movies to shame.

A mildly funny, stereotype-stuffed comedy.

Like "Sex and the City 2," Marmaduke features well-coifed bitches in heat, nonstop puns and its very own Mr. Big. Unlike "SATC 2," this one is harmless and, on occasion, mildly witty.

This loopy farce has the feel of a wacky off-off-Broadway play with more energy than wit, but it has its moments. And the laid-back acting of Hoffman (son of Dustin) just about holds it together.

Burzynski is dull, dull, dull, even for an infomercial.

Like the Master of Suspense's best films, Double Take (which makes great use of Bernard Herrmann's haunting "Psycho" score) is an intellectual puzzle that also works as a thoroughly accessible entertainment.

May be the first movie that effectively erases virtually its entire story line by the very last scene.

I suppose it's nice that Romero has a hobby, but he couldn't be more of a bore if he were showing off his pine cone collection.

Jean-Pierre Jeunet, the French di rector of "Amelie," is back to more lighthearted whimsy with the delightful Micmacs.

There is much opportunity to turn the film into a soaper, but Hansen-Love resists.

There are a few exciting battle sequences and the sets are lavish, but mostly the film meanders aimlessly for more than two hours. No wonder new sword-and-sandal movies are in short supply.

Working from a well-thought-out script co-written by director Stéphane Brizé, the two stars deliver impressive, understated performances.

The ever-excitable Martin Scorsese, who is listed as a producer and who pops up, bizarrely, to talk about how he decided to stage the last shot of "The Departed," concludes things by saying, "Cubism was not a style. It was a revolution!" Yep. And not in any way a fad.

The transformation of the girls from winsome wisecrackers into whiny bling-obsessed chuckleheads is complete.

Tired? This series is as exhausted as Shrek after a day of baby wrangling and diaper changing.

There's a reason you've never seen the words "Will Forte" topping the billing of a major motion picture. After the throbbing flameball of unfunny that is MacGruber, you never will again.

A rare drug-crime movie devoid of violence, and pretty much anything in the way of excitement.

The fine supporting cast includes Steve Buscemi, as a cynical American doctor who at first doesn't get along with Rabe; and Anne Consigny, as the French head of a local school for Chinese girls.

A comedy that forgot to install the funny.

Superb as an auto salesman who sinks deeper and deeper into disgrace in Solitary Man, Douglas' juiciest vehicle since "Wonder Boys."

An interesting but flawed look at the birth of the French New Wave.

Has a certain dark charm if you can put up with very jittery camera work and editing.

Head and shoulders above the sort of lightheaded epics Hollywood typically offers during the summer season.