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.

It's skillfully rendered fun, but don't expect to remember much the next day.

A suspenseless rehash.

Doesn't do enough with a righteous premise.

Thanks to the extraordinary performance of Cotillard, who expertly lip- syncs to Piaf recordings and disappears into the part, few will regret seeing La Vie En Rose, named after a famous Piaf tune. Just brace yourself for a film of unvarying intensity that seems longer than its 140-minute running time.

Porumboiu, who also produced and wrote, elicits remarkably deadpan performances from Teo Corban (as the show's host), Ion Sapdaru (the professor) and - especially - Mircea Andreescu, as the old man. Even the subtitles cracked me up.

Considering that Gracie says nothing that hasn't been said in dozens of films, one does wonder whether Hollywood is being as diligent as it could be in digging up fresh story ideas.

Ridiculous comedies can be fine, but the ones that matter creep up close to the truth. This one lives in it.

Coincidences and plot contrivances pile up. What starts out as a delightful black comedy and social commentary ends up, at best, as a guilty pleasure where I had a hard time sorting out the intentional from the unintentional laughs.

The story is still so compelling - and the principals still so eager for attention - that the filmmaker's pedestrian treatment can't take away from the impact.

Though overlong, there are many stunning special effects, including a car chase up the side of a building, as well as the sort of wild animated subtitles that turned up in "Night Watch."

Watching I'm Reed Fish is like being forced to read the diary of a dull-witted teen who is breathlessly beginning a lifelong fascination with himself.