A vivacious film that is a treat for eyes and ears.

The paranoia is as thick and luscious as that Reddi-wip, and it's served from both left and right.

The mutants are brain-damaged; the filmmakers don't have that excuse to justify this movie, which is the kind of thing the sergeant would call "a stunning display of individual and group stupidity."

An unexpectedly disarming, extremely well-cast little variation on "E.T."

It follows exactly the same path as both "Glory Road" (except that was basketball) and "Gridiron Gang" (football).

It's not exactly a surprise the makers of Reign Over Me feel compelled to manufacture a happy ending for a story that really has none. Pity.

The movie pretty much exists to sell tie-in products, and it's about as entertaining as watching little kids playing with their toys in the sandbox.

Great fun for the first 20 minutes - which include Kubrickian tracking shots and music from "2001" and "A Clockwork Orange" - but seems long at 86.

It's déjà vu all over again for Aussie actor Guy Pearce, returning to motel rooms in the American Southwest to sort out metaphysical issues in the thriller First Snow, to somewhat less original effect than he did in "Memento."

The story is good-natured, but Panahi's message is serious: That ludicrous rules turn Iranian women into third-class citizens. And what better way is there to get that point across than through sports and laughter?

The battlefield sequences unfold with surreal horror, while the human bonding in the foxholes emerges tenderly. On the downside, Bauer - who makes no pretense about where his heart lies - tacks on a melodramatic coda that lessens the momentum of an otherwise praiseworthy film.

Stieve and Glosserman may yet strike a vein: This thing screams out for a Hollywood remake with, say, writers from "The Simpsons."

While the film has impressive 18th-century trappings and vivid battle scenes, the plotting and acting are rudimentary.

The dialogue isn't ridiculous, and sometimes it's witty: A cynical cop (Donnie Wahlberg) doesn't buy Jamie's theory that the doll had something to do with the murder: "The mystery toy department is down the hall. This is the homicide department."

Rock appears to have edited I Think I Love My Wife with a roulette wheel.

When you awake, it may all seem like a bad dream - but why is your wallet missing $11? Scary.

We may not need another IRA movie, but even so, Ken Loach's Brit-bashing historical drama The Wind That Shakes the Barley, winner of the top prize at Cannes last year, raises hard questions about Ireland's uncanny ability to kneecap itself.

The characters are too cliched to be funny, and Jensen's script can't stay focused long enough to make an impression. Where is Lars von Trier when we need him?

The ineptly made Animal Cannibal isn't remotely convincing as reality, and worse, isn't remotely entertaining as fiction.

The surreal images lack narration and talking heads, which is no problem. In fact, the device makes the shocking footage more compelling.

Unfolds as meditatively as a game of go. Cinematographer Wang Yu shifts easily from tranquility to violence, and he is able to turn something as simple as a man walking outdoors into a visual feast. Chang Chen, a star of "Crouching Tiger, Hidden Dragon," provides a strong yet understated portrayal of Wu.

Sensory gluttony is reason enough to see a movie, and few epics overstuff the eyes like this one.

The film is occasionally heavy-handed, and the priest character is almost absurdly saintly, but there is an awful power to scenes such as one in which the Europeans are evacuated on trucks.

A fantastical genre-buster.

All the film provides is this bulletin: Lefties are angry about the things Lefties are angry about, chiefly corporate profits.

Overall, this gorgeously designed and photographed movie artfully depicts the immigrant experience in ways that transcend its setting, melding Hollywood and Bollywood storytelling techniques to weave a tale a large audience will relate to.

More watchable for secular audiences than the handful of earlier films released under the Fox Faith label, this one actually has a sense of humor, a politically progressive point of view and a solid cast including the ever-reliable James Garner.

The script is fresh and accessible - even for folks who don't know Croatia from Cambodia - and it is put over by solid acting and direction.