As for The Happening, his throwback horror flick that plays like "The Birds" meets "The Blob," it's beyond good and evil. It's dumbfounding.

Don't run off before the credits start to roll, though: The Incredible Hulk ends with a jokey cameo by a certain movie star with his own newfound superhero franchise.

Beauty in Trouble offers a meditation on the legacies of communism and the lure of capitalism, but also on the human need for love, connection and family.

In part, the documentary answers the question of why some couples flourish and others flounder.

Ann Savage, the femme fatale from a slew of old Hollywood noirs, is savagely funny as Maddin's beauty-parlor proprietress mom.

Through Herzog's eyes it is a desolate, strangely beautiful frozen Edenish hell where the planet, having shaken out its pockets, lets the loners, fanatics and cosmologist-crackpots fall to bottom.

Thanks to a witty script and the recognizably goofy but absolutely earnest delivery of Black, Kung Fu Panda has a human soul, too.

Less like "The Waterboy" and more like "I Now Pronounce You Chuck and Larry," only funny.

Mongol is great cinema, great fun.

A gloriously tacky horror movie with an inclination toward the occult, The Mother of Tears hails from the Italian schlockmeister Dario Argento, who photographs his Euro movie star daughter, Asia Argento, with something more than paternal pride.

It's totally down-to-earth, as real as a trip to the supermarket.

A deadpan, dead-on comedy.

The four women couldn't be better - or better matched. As always, Parker is the standout, cracking your heart and cracking you up with equal ease.

No one is getting at anything in The Strangers, except the cheapest, ugliest kind of sadistic titillation.

Rea, with his hangdog looks and Jimmy Stewart line readings, spends a good deal of his time writhing in fake blood and broken shards - not what you'd call glamorous work, but he does it with conviction.

While the production values are top-notch, and the action artfully choreographed, in the end - and quite well before the end - a sense of tedium sets in.

The movie is near-perfect, suspenseful, heart-breaking, profound.

An elaborately presented feast that will taste familiar to the 'tween and teen audience for whom it is served. The four courses are love, war, faith and humor, served in no canonical order, and sometimes, simultaneously.

Speed Racer offers a crazy, turbo-charged mix of cartoon kitsch, gamer action, and a wild new way to think of - and look at - movies.

Dazzling and delirious, The Fall is a celebration of cinema, of old-fashioned storytelling and globe-hopping spectacle.

A satisfyingly screwy New York story.

Pray has a great story here, but it's much more than just "The Brady Bunch's Endless Summer."

Their chemistry goes like this: He cleans up real nice; she dirties down with gusto.

As scripted by Cathy Rabin and directed by Santosh Sivan, Before the Rains is never less than compelling, but never more than adequately realized.

Lacking in subtlety and nuance, Broomfield's nerve-jangling movie nonetheless succeeds in showing the war from various vantage points. And from wherever one's standing, the view is profoundly disturbing.

The romanticized image of the tortured artist - never mind how warranted his or her angst might be - is the stuff of stereotype unless it's leavened with humor, or limned in art. In Fugitive Pieces, neither element appears in sufficient quantity.

Until a final conflict that more resembles a monster-truck jam than a superhero showdown, Iron Man is solid gold.

The film is just middling. A clever line here and there, a debonair Dempsey wink, a cute Monaghan nod, and another Bill and Monica reference to tie things all together.