As is the case with many English comedies, some of the film's slang is hard to understand. But Jennings' sprightly films proves that although England and America are countries divided by the same language, they are united by slapstick comedy.

Best when skewering New Age entrepreneurs for what might be called Compassionate Capitalism. Steve Martin is sublime as Kate's boss, Barry, purveyor of organic food and Zen koans.

It's not exactly high art, but it's certainly high.

The structure of Lelouch's pedal-to-the-metal story commands attention and suspense. The three principals are enormously engaging, and Gérard de Battista's succulent cinematography creates the sense of actually being there.

In presenting their testimony to the jury of public opinion, Morris would seem to be building a case for absolving some of them of mistreatment charges and implicitly asking for an investigation of those who were not charged.

The material is so charged that it threatens to electrocute any who would touch it. Yet from the moment that Bette Midler, as Bernice the bio-Mom, appears, she becomes the instrument of its emotional release, catharsis teetering on high heels.

88 Minutes proves itself to be a maddeningly mediocre, ineptly manipulative "real-time" thriller.

The special effects are effective, though not terribly special. While director Minkoff pays homage to past masters of the genre, the past masters were better at this game than he.

Like "The 40-Year-Old Virgin" and "Knocked Up," Sarah Marshall has all the ingredients of the Apatow brand. Alas, it's beginning to feel generic.

The best thing about The Life Before Her Eyes, a somber meditation on fate and friendship, is the way it captures the close relationship between two teenage girls.

Spurlock's intermittently entertaining travelogue ultimately reveals that people in disparate countries of different religions and wildly divergent ideologies are more alike than not.

At first glance Walter isn't a guy you want to spend two hours with. But by the end of the film, you don't want to see him go. Jenkins is like that: He sneaks up on you and steals your heart with light-fingered skill.

The parade of senators parroting the rationale for invasion - what we now know was misinformation - does not undermine Young's story. Given the private's eloquence, the flashbacks to 2002 are superfluous.

Vibrant and vivacious documentary.

A meditation on art, life, loneliness and the links between friends and strangers, the movie has a grace and humor that's wonderfully inviting.

A beautifully strange movie.

A larky throwback to the breakneck screwballs of Frank Capra and Preston Sturges. Problem is, it isn't breakneck enough.

Breslin, so memorable in "Little Miss Sunshine," suffers the most. Skilled and reactive with humans, she doesn't quite muster the same engagement with her finned and flippered costars here.

Despite Scorsese's efforts to pump up some drama - the director, with his signature glasses and Groucho brows, gets huffy about not receiving a set list - drama is sorely lacking. This is just a concert film.

The filmmakers' narrative device of framing Quinn's tale as a feature-length flashback doesn't pay off - we get a goody-two-shoes moral lesson at the end, and a look at movie studio aging makeup gone wild.

21 makes for some slick escapist fantasy. Even if, and because, the fantasy has its roots in something real.

Judah Friedlander and Lindsay Lohan are striking, respectively, as a Lennon paparazzo and a fan creeped out by Chapman.

Moviegoers of a certain age may feel as though they are watching a lost Bertolucci film.

Stop-Loss carries the emotional force and propulsive drama of the quintessential soldier's story.

Alexandra never depicts the soldiers in combat, but Sokurov nonetheless shows how war can break down the social structure, break down family, break the human soul.

There are winning scenes between Wilson and the three teens as they train in various martial arts (like Mexican Judo - "as in Ju-don't know who you're messing with!") and get tips from clips of "Fight Club" and "The Untouchables."

The playwright, actor, director and drag queen (yes, his bewigged and be wild Madea makes a brief and totally gratuitous appearance in his new film) knows how to give human dimension, and a dimension of humor, to the cliches and stereotypes.

How do you say "tearjerker" in Spanish?