A weird hybrid of cloning thriller and futuristic love story, with hints of "The Godfather" and "Ice Castles" - and it wears its disjointed nature like a badge of honor.

Shamelessly press viewers' emotional buttons. But the film is so well-made and the performances so accomplished that it doesn't matter.

A sublime variation on the buddy road movie, infusing the midlife crises of the two main protagonists with hope and poetry.

The Grudge offers a bit more exposition than did "Ju-On," but the plot is still wispy.

A crass, shrill and laughless disaster of a holiday comedy with a desperately mugging Ben Affleck that should be banned under the Geneva Convention.

A joyous, toe-tapping celebration of a musical style born of sorrow.

Anderson gives The Machinist a sickly noirish look that contributes to the creeping horror - but it's the emaciated Bale's spectral presence that leaves the imprint.

A sporadically amusing curiosity that falls short of effectively satirizing the public's fixation with the minutiae of celebrity lives.

Conforms to many of the tropes of a formula thriller but, aided by an evocative Philip Glass score and Tim Orr's beautifully naturalistic cinematography, it transcends the genre.

Never rises above the level of a second-rate TV sit-com.

See it - if you dare.

The first conservative documentary to join the bumper crop of liberal political films riding Michael Moore's coattails into theaters.

It's a simple tale of father-and-son bonding that director Huo Jianqi injects with a quiet power, and it benefits greatly from the gorgeous lushness of its backdrop.

If only its characters weren't such stereotypes.

It's a sweet and light-hearted endeavor that shows Breillat isn't a one-trick pony.

Who's going to love it? Anyone with a sense of humor: Team America: World Police is hands-down the funniest movie of the year.

The low point of the new Shall We Dance comes when Miss Paulina finally confesses why she's so sad.

A pleasantly diverting period romp that Annette Bening turns into a wickedly funny tour de force.

That Eulogy has any laughs is largely a testament to the understated Romano -- he and Deschanel are the only ones in the cast who aren't straining to be funny.

The story is so slight, a low-wattage hair dryer could blow it away.

All movies require suspension of disbelief to a certain degree, but p.s. really pushes the envelope.

A rousing indictment of a barbaric practice.

Wants to be an epic in the mold of "Saving Private Ryan," but it's hindered by its modest budget.

So over the top that it often plays like a parody.

It's not a bad premise for a movie, but writer-director Omar Naim, a 26-year-old Lebanese native making his feature debut, proves equally inept at handling plotting, actors and pacing.

The oft-told story of lust and deception isn't the reason to see Untold Scandal -- Rather, it's the look -- stunning costumes and art direction, lush landscapes, and beautifully framed and lighted sequences -- that make this worth seeking out.

Confirms Leigh's reputation as one of the world's master filmmakers - and showcases Staunton as one of its great actresses.

The last half hour devoted to the Big Game, staged by a crew from NFL films, is genuinely rousing and inspiring. That's where Friday Night Lights finally shines.