A heist comedy in which the audience gets robbed.

A South Korean romantic comedy by Hong Sang-soo, who has been likened in style to France's venerable Eric Rohmer.

An occasionally revealing glimpse inside the mind of Chapman before, during and after the assassination.

The movie is well-acted, but it's as talky as if it were written for the stage, with fatally slow pacing. Strictly for hard-core Sayles fans and maybe for lovers of American roots music.

The acting is uniformly superb, the camera work and set design are haunting, and The Orphanage delivers well-earned tears at its beautiful conclusion. Go see it already.

Between D-Day, the sheer ambition of Paul Thomas Anderson's historical epic and Robert Elswit's dazzling cinematography, this is a must-see movie - even though its emotional temperature rarely rises above freezing and the climax goes way, way, way over the top.

Actors tell us that dying is easy, comedy is hard. But comedies about dying are hardest of all.

There's an air of extreme predictability and inevitability in the script - which takes liberties like moving the climactic debate from the University of Southern California to the grander precincts of Harvard.

It is a vivid, at times heartbreaking, portrait of a life and a nation in crisis.

Adults will sniff out a general air of phoniness - the period detail isn't particularly convincing, and the Scottish factor is overcooked to the point where the script starts to resemble the national cuisine.

This is first and foremost a farce, not unlike Nichols' "The Birdcage."

It's another flick about maps, landmarks and buried treasure that makes "The Da Vinci Code" look like TOLSTOY.

A protracted piece of schmaltz, P.S. I Love You looks like a hand-me-down from Sandra Bullock and Drew Barrymore.

Mighty entertainment that makes you feel sorry for the saps next door in the multiplex.

I loved both "Walk the Line" and "Ray," but it will be hard to watch either one with a straight face again after the skewering they get in this Judd Apatow production, which quotes scene after scene to hilarious effect.

What they say is superficial. They never really explain why they risk their lives. In the end, Steep plays like a TV infomercial - and who wants to hand over $11 to watch one?

There are a few sweet moments as the story reaches its unsurprising conclusion. But, all in all, Flakes isn't going to bowl you over.

By terms moving and funny, the story reaches its apex when Half Moon, a beautiful young woman played by Golshifteh Farahani, makes her appearance from out of nowhere. Is she real, or perhaps an angel? You'll have fun trying to come up with an answer.

This partially animated, charm-free atrocity is awful enough to instantly cure any remaining nostalgia for the rodent trio.

A scary, inventive, exciting and breathless adventure that combines the best elements of “Children of Men," “Escape from New York" and “The Road Warrior," but leaves out the worst stuff - such as the story-clogging despair and political allegory in “Children," a movie that made apocalypse look like kind of a downer.

It's what Hollywood calls a 'tweener - not quite edgy or artistic enough to satisfy the art-house crowd, but a tough sell for family audiences because of its extensive subtitles, two-hour-plus running time, and a (tastefully rendered) male rape scene.

There are some funny moments, plus occasional nudity and sex, but the joke quickly wears off. What might have worked as a half-hour TV show doesn't suit itself to a feature-length film.

I understood two words of Youth Without Youth: "The End."

Most of the comedy comes from dull situations like a fat guy trying to put on a fat suit for no reason.

Everyone knows about the Holocaust, but few today have heard about what was infamous as the Rape of Nanking, when 200,000 residents of what was then China's capital were massacred by invading Japanese troops.

The tone is good-natured enough to make a simple movie semi-watchable.

Based on the many delightful samples on the soundtrack, it's an exemplary goal.

What might seem like showing off in another movie is dazzling storytelling here, packing in an hour's worth of human misery.