As nutty as you'd expect when two of our most eccentric auteurs join forces.

Funny more often than not. Worth checking out on video.

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.

Having seen the trailer for Brothers and now the finished film, I feel as though I just watched the trailer twice.

One of the year's best films and so tapped into the zeitgeist that it's positively scary.

A shrill farce that strains credibility even by the standards of black comedy.

Essentially amounts to an extended interview with a psycho, fleshed out with background material that, while suitably shocking, is not always illuminating or even frank. The film is curiously shy about calling Varg what he is: a Nazi.

After seeing Everybody's Fine, Paul McCartney offered to write a song that plays over the closing credits. That may be because the whole movie is like a celluloid McCartney tune: warm and playful and sweetly earnest, but lightly funny, too, and crafted with consummate skill.

Helen Mirren outdoes even her Oscar-winning performance in "The Queen" with her tour de force as Countess Sofya Tolstoy in Michael Hoffman's delightful The Last Station.

Brain-dead film.

A wink of self-awareness might have made this a guilty pleasure; instead it's a howler along the lines of this fall's "Law Abiding Citizen."

Strel's 2007 adventures on and in the Amazon are detailed in John Maringouin's fun documentary Big River Man.

Camandule gives a strong performance as the lovesick guard, but Svarcas gets little chance to show her skills. There's minimal dialogue and camera movement -- but lots of charm.

Less an adventure yarn than a character study of two old guys with fading memories and improbable dreams.

In this season of Hollywood blockbusters, small movies can get lost in the hype. Don't let that happen to Home.

Miller never really fleshes out all of these colorful characters in her emotionally facile script, leaving the heavy lifting to the actors. Fortunately for The Private Lives of Pippa Lee, Wright is more than up to the challenge.

Doesn't offer plot or an inquiry into the evil in men's hearts. It simply wallows in the filth and inhumanity that surround a father and his pre-adolescent son as they march across the shattered remains of this country.

Overall, the film is not quite up to "Aladdin" and "The Little Mermaid" from the same directing team of Ron Clements and John Musker, not to mention the recent string of masterpieces from Pixar.

Despite the pace, though -- pedal, have you met my friend metal? -- Ninja Assassin still has some of its best stuff left at the end, when the master returns to demonstrate his extra-special, super-most-deadliest technique.

Old Dogs does to the screen what old dogs do to the carpet. It's unfortunate that only the latter can be taken out and shot.

Me and Orson Welles is, in effect, a sequel to Tim Robbins' star-filled, self-important film about "Cradle," but it's far lighter on its feet.

Yet the moral at the end is that we should all be more tolerant of different cultures. Is that really true, though, if the culture you're trying to tolerate is trying to open your skull with a circular saw?

New Moon is supposed to be an exciting love story plus monster action. So where’s the excitement? Where’s the action?

What makes The Blind Side a Thanksgiving treat is director Hancock's subtle touch and admirable refusal to yield to sports movie clichés, something he did previously with "The Rookie" and "Remember the Titans."

There can only ever be one Bad Lieutenant: Harvey Keitel. In Bad Lieutenant: Port of Call New Orleans, Nicolas Cage, pretend tough guy (Malibu accent, long floppy coiffure, nervous smile), is more like the Bad Used-Car Salesman.

That still makes Broken Embraces superior to at least 99 percent of the movies released in 2009. Run, don't walk.

This overlong drama is the first (mostly) English-language film from the talented Swedish filmmaker Moodysson (“Lilya 4-Ever”). Any semblance of subtlety was unfortunately lost in translation.

While he takes an evenhanded approach, the filmmaker appears on camera far too often and goes off point as frequently as Moore.