Rebecca Hall is wasted as Sandvig's sister and the film's voice of reason.

It's a nice, mud-free way to spend a bit of time rocking out in the rain with the Scots.

This isn't a story of Shakespearean proportions, but it's a sweet peg for this complex, carefully constructed gem.

Director/co-writer/cinematographer, Yam Laranas, still delivers a maximum of suspense and horror, working wonders with a small budget.

Nobody Else But You has a great deal going for it, not the least of which is Rouve, who takes the novelist's obsessiveness, depression and general boorishness and turns it all into the source of his appeal.

A thoughtfully conceived and tastefully executed tribute to a venerated author.

Even an appearance by Alec Baldwin as Moretz's eventual - if highly unlikely - savior isn't enough to keep Hick from leaving a bad taste.

It's a hodgepodge of subplots and wildly disparate tones that even Federico Fellini (to whose "Amarcord" Labaki also owes a debt) might have had trouble controlling.

There are so many monologues about obnoxious behavior that they begin to lose their luster - something I'd never have thought possible.

Maybe it's because I share Burton"s twisted affection for the 1970s, but for all its shortcomings, I'd sooner watch a sequel to Dark Shadows than another installment of the bloated "Pirates of the Caribbean" saga any day.

There's little reason to see the claustrophobic Chronicling a Crisis unless you have a fascination with the Kolleks. Watching the vanity project is like being forced to sit through a friend's boring home movies.

With the abysmal A Little Bit of Heaven, Kate Hudson's possibly unprecedented losing streak remains unbroken: She hasn't made a good movie since Almost Famous, 12 long years ago. Even Nicolas Cage can't say that.

The most engaging is straight-shooting Erin Brockovich (whom you'll remember from that Julia Roberts pic), still helping average Joes fight uphill battles against corporate toxin-dumping.

The movie still seems fresh in the way it respects both the art in ballet and the discipline it demands - even in childhood.

Wilkinson's reflective and regretful searcher, burdened by secrets, is also touching, as are Dench and Nighy's creations, so it's easy to cheer them on as they inch toward revelations and rebirth.

Make no mistake, though: The Perfect Family is Kathleen Turner's show. And when a series of crises forces Eileen to re-examine her values and beliefs, Turner rises magnificently to the occasion.

Even for a surreal black comedy, Jesus Henry Christ requires massive suspension of disbelief.

Glawogger doesn't make any moral judgments, but you can't help but feel sorry for the "girls'' and their johns.

This remarkable new documentary from Raymond De Felitta ("City Island") fruitfully revisits the aftermath of a TV doc that his father, Frank, produced for NBC in 1965.

Doreen's scenes are meant to highlight the cost to the people surrounding Eddie. But the many efforts to link his psyche to his war experiences never gel, and Eddie remains a wraith, his real emotions as pallid as the film's colors.

Holds your attention for a while, but fails to build much suspense as it races toward a predictable climax. It probably would have worked better as a series of Webisodes, which reportedly was the original plan.

All are subjects worthy of discussion, but tackling them in one film disrupts the movie's momentum and shortchanges viewers. Baichwal could have devoted a single film to just BP's disgraceful behavior.

Szumowska provides lurid scenes of perverted sex, but she offers no new insight into the sordid world of prostitution and the dangers sex workers face. Nor does she flesh out Charlotte and Alicja. The result is a superficial and voyeuristic film.

The sex, nudity and violence are nonstop, but that's what makes Headhunters exciting entertainment. See it before the Hollywood remake, possibly starring Mark Wahlberg, gets it all wrong.

The biggest thrill for this mild-mannered crew isn't plundering or plank-walking, but Ham Night.

There are zero surprises, but it looks good, moves well through a trim running time and wields its clichés with defiant aplomb.

Jack Black gives the performance of his career in the title role of Bernie, under the pitch-perfect direction of his "School of Rock'' director, Richard Linklater, who expertly crafts a black comedy with a deceptively sunny surface. It's the best movie I've seen all spring.

It might not have as many gut-busting laughs as "Bridesmaids,'' but there are still plenty - and for once in Apatow's phallocentric universe, most of them don't come at the expense of female characters.