An extremely well-acted and well-directed remake of a 1957 oater.

Director Griffin Dunne's adaptation of Dirk Wittenborn's fiercely personal novel ambles pleasantly through coming-of-age movie territory, then takes a jarring Agatha Christie detour.

Director Adam Green's genuine affection for the genre helps make Hatchet a cut above average.

It's a stirring reminder of a time when anything seemed possible - these American heroes boosted morale eroded by the Vietnam War, as well as bringing the whole world together to celebrate their success.

It has cult item stamped all over it, and fans of (severely) experimental cinema might see it as a revelation. Most others will find that watching this movie is like having your senses beaten with a rake.

The season's first guilty pleasure, Shoot 'Em Up is a joyously silly, R-rated, John Woo-in flected Looney Tune, with Clive Owen as a carrot-chomping, gun-toting Bugs Bunny matching wits with Elmer Fudd-ish assassin Paul Giamatti.

Excruciatingly acted and ineptly directed by Bob Odenkirk, The Brothers Solomon is faux Farrelly brothers that should have gone straight to video.

The comedy is without distinction and the conclusion is melodramatic. I must note that ads for the film are misleading because they give no hint of the dark side of The Bubble.

Shepard, who directed "The Matador" and the pilot for "Ugly Betty," can't quite get the disparate elements of The Hunting Party to mesh into a satisfying whole.

Slight but charming.

A very belated and very silly follow-up to "Death Wish."

A grabber from start to finish that should win new fans for cult-favorite To.

Crude and cheerfully sophomoric teen sex comedy.

Wavers uncomfortably between satire and dime-store existentialism on the big screen. It's sort of as if Charlie Kaufman rewrote "The Fountain."

Mostly unfunny, extremely silly pingpong comedy.

Gronkjaer's cinematography is pleasing, with beautiful sunsets and tranquil snowscapes. I won't give away the ending, but it might bring a tear to your eye.

A pleasingly weird, dryly funny little indie.

Could be an overwrought mess if it were in less capable hands. But Webber and Moreno are so good, it's hard to believe they're not really deeply and meaningfully in lust.

The real mystery here is why this slapdash semi-effort didn't go straight to video.

Picks up steam when it finally arrives in Cannes just in time to wreak yet more havoc at the big film festival, but getting there is pretty tedious. A little of the wildly mugging Atkinson goes a long way.

A comedic sinkhole, a dramatic tundra.

Well, it smells, all right, but authentic isn't the word I'd use for this maudlin male weepie, a compendium of the worst clichés of sports and journalism movies.

As frightening as it intends to be, but not enjoyably so.

Succeeds completely at failure; the unified incompetence of its writing, directing and acting suggest a man who manages to be on fire and drowning at the same time, just as the bus runs him over.

How can a movie with such a charming cast (let's not forget Ry Russo-Young as Hannah's female roommate) and believable dialogue (seemingly taken from the actors' real lives) go wrong? It can't.

A welcome change from horror movies like "Hostel' and "Saw" and their mind-numbing gore and violence.

The movie is a gentle British ensemble comedy much like "Four Weddings and a Funeral" - minus the four weddings and four-fifths of the wit.

Super-vulgar, ridiculously sophomoric, horribly nasty and so hilarious you’ll probably squirt Diet Coke out of your nose within the first 20 minutes.