Wraps a sari around the kind of suffering-housewife picture that became a cliché 30 years ago.

The film falters only when it eavesdrops briefly on a passionate public discussion of rent control and gentrification. The moment is out of keeping with the carefree nature of the rest of the movie.

A movie that features Wahlberg suggesting everyone try to outrun the wind can barely be watched once.

Like its monstrous hero, The Incredible Hulk gets the job done with minimal artistry and a lot of noise.

Will Marcela (wonderful Ana Geislerova) opt for brains or brawn? The answer might surprise you.

An affecting and beautifully realized documentary.

Guy Maddin's films are always delightful, but his latest, My Winnipeg, has an added treat for film buffs: It features Ann Savage!

This warped masochistic cousin to David Cronenberg's "Crash" - not to be confused with the Oscar winner of the same name - is well worth seeing for Farmiga's stunning performance.

Pepe Danquart's To the Limit from Germany looks great, but it's an altogether different animal.

Encounters may lack the power of, say, the Herzog doc "Grizzly Man," because it has no bigger-than-life character at its nexus, but it does confirm the filmmaker as an iconoclastic master.

Po speaks loudly and carries big shtick. Let the rest of the world cringe at our hyperconfidence, our charisma, our pure awesomeness.

Directed with sledgehammer subtlety by Dennis Dugan ("I Now Pronounce You Chuck and Larry").

The enchanting voice on the phone, who delightfully shows up in person halfway through, belongs to Zooey Deschanel. In real life, she hooked up with the composer of the lively score, M. Ward, to create the pop duo She & Him.

Mongol really isn't worth leaving your yurt for.

There is, of course, a maximum of blood and gore. Sometimes the director's ideas work; often they don't.

Easily the worst movie I've seen so far this year.

It would seem no easy task conveying the essence of a bigger-than-life figure like Ellison in a 96-minute film. But Nelson, producer of Werner Herzog's "Grizzly Man," makes it look easy.

Operation Filmmaker is eventually about Muthana blackmailing Davenport by withholding access to him as she fruitlessly seeks a happy ending for her film. "Now, I'm just looking for an exit strategy," she finally concludes.

While Bell makes the point that pros account for about 85 percent of total usage, he is more interested in why others - including a guy with the world's biggest biceps, who admits they repulse women - are so driven to be Bigger, Stronger, Faster*.

The movie is so heavily weighted toward the Simmons character that no one else really gets to breathe. And though McBride's shtick is brilliant - he could get rich by playing variations on this character for the next few years, and probably will.

For all its outré set pieces it never rises above the level of pretentious trash.

Feels like it was written and directed by an audience focus group in Omaha?

The bad movie in my head was far better than the one on-screen, which offers no twists at all. A twist? There isn't even a curl or a bend.

Mena Suvari has her best role since "American Beauty" as Brandi, a self-centered nursing home employee distinctly lacking in sympathy for anyone.

Beautiful but boring.

At last: Uwe Boll has made his first intentionally funny film.

The movie has two modes - very loud and extremely loud - and all of the actors are encouraged to mug their hearts out. That even includes Cusack's real-life sister Joan, normally one of the most reliable performers in the business.

Often thrilling, sometimes charming, occasionally clunky family entertainment that perhaps wisely doesn't attempt to scale the heights of "Raiders of the Lost Ark."