Deafeningly loud and proudly silly epic.

Watching Robin Williams as a pastor giving premarital counseling to lovebirds John Krasinski and Mandy Moore in License to Wed is like having a laugh chastity belt cinched up tight around your funny bone.

The silliness of Moore's oeuvre is so self-evident that being able to spot it is not liberal or conservative, either; it's a basic intelligence test, like the ability to match square peg with square hole. His documentaries are political slapstick that could have been made by a third Farrelly brother or a fourth Stooge.

If there is a genius working in Hollywood today, it's animation director Brad Bird, who tops the delightful "The Incredibles" with arguably the finest 'toon in the Pixar canon, Ratatouille.

Vanessa Redgrave spends Evening dying, and so does Evening.

Only the French could or would make a movie like this. You'll enjoy it if you turn off your brain and concentrate on the eye candy.

A sappy look at the title character, a 12-year-old boy who's a math and music prodigy.

Albert elicits good performances from her cast, but she fails to give viewers reason to care about their characters.

Willis, who at 52 looks great in an intensely physical role and can still spit out wisecracks and insults with the best of them.

One reason it rings true is because the script is based on Gaglia's real experiences.

Sharp little psychological thriller.

Carell's frantic mugging as a modern-day Noah barely keeps Evan Almighty afloat.

Remarkably apolitical, considering that it comes from the director of the Bush-bashing "The Road to Guantanamo."

This is a one-joke skit that trots in a straight line, and your enjoyment of it will depend entirely on how many times you need to see gonzo sheep rip out human entrails.

Posey is a delight throughout, and Zoe Cassavetes is clearly a filmmaker to watch.

Intelligent and tasteful, even while being sexually frank.

Just as the story is minimalist, so too is the documentary-like film's look: long static takes and tons of close-ups. An epilogue allows viewers to come to terms with the film's tragic ending.

It's the best role in years for Leoni, but You Kill Me really belongs to Kingsley, whose character's deadpan reactions to his new environment are priceless. He really kills.

Burtynsky doesn't preach. He's content to let viewers make up their own minds from his eye-opening and eye-pleasing images.

The silliest sci-fi movie since "An Inconvenient Truth."

A well-written and in many ways pleasing update of a character who has endured in print for 78 years. Too bad it's sadly slow-paced.

Never before have I been so emotionally involved with an apple core, or seen salvation in a flip-flop. Taika Waititi, you had me at nunchuks.

Amusing without being particularly biting.

Johnny Depp puts in a cameo declaring that "most Americans believe the clichés about Gypsies." Unfortunately, the well-intentioned film never gets beyond clichés itself.

The script plays fast and loose with the facts and adds soap-operaish touches, but Thalbach is a feisty delight.

The film did well at the local box office and has been shown at some 40 international festivals. Eat your heart out, Michael Moore.

Say hello to my leetle dagger! Shakespeare meets "Scarface" in an Aussie adaptation of "Macbeth" gone gangsta.

If you're new to Kaurismaki, the film will make you a fan. If you've seen everything else he's ever done, the comedy will confirm your commitment.