When the picture's good, it's really something; when it's bad, you grit your teeth and pray it will end.

On face value, The Flower of Evil is pure Chabrol, but it lacks the power he brings to human relations and social classes, where often violent, masochistic themes are explored. But that doesn't mean he's done as an artist.

A harsh self-examination of the cynicism that has crept into every cranny of the political landscape. As such, it's absolutely a story of our times.

The story of Dito escaping and then facing his demons is meaningful. But that story is so buried in actorly noise that it feels false.

The movie's perfectly understated, warts-and-all sense of time and place will send any suburban Gen Xer in the audience flashing right back to their less-cautious days, when mix tapes did heavy lifting as calling cards.

Starring in, directing and writing (in collaboration with Michel Marc Bouchard, on whose play it's based) a movie at Dolan's tender age is certainly a Wellesian accomplishment. All three actors are convincing, especially Cardinal as the cruel, manipulative Francis, and their characters' behavior feels authentic even when it's not logical.

The story told in Garbo: The Spy is so outlandish that you almost feel as if you're watching a mockumentary. But it appears to be entirely true.

The movie unfolds in the uplifting manner you'd expect, but its real pleasures lie in its terrific '60s pop-soul soundtrack and especially in its frequently funny performances.

Zach Braff has come up with a charming, funny, melancholy ode to twentysomething angst.

A sweet, intelligent little movie.

With barely a hint of trippy visuals, it captures the highs and lows of one mind-expanding surfside day.

This deadpan ode to living life to its fullest could be the ultimate crowd-pleaser at this year's PIFF.

There's too much head-butting between human battering rams Diesel and Jason Statham, too many noisy explosions and generic special effects, and not enough car races and chases.

There are real thrills here, especially as the Bang Bang starts touring and becomes a minor sensation. But it's a little too hermetic and goopy and humorless and cool to invite you to wrap your arms around it. The Howes shared a single liver, but what this film version of their lives needs is more heart.

Modest in every sense but one: Its cast is huge.

Despite familiar elements, including the classic family-versus-work conflict faced by almost every movie cop in history and the equally hoary discovery of corruption among Michel's colleagues, The Connection remains tense and believable.

"Lift me like an olive branch and be my homeward dove" is a line that could raise the spirit of any political prisoner, and Stewart's message -- that journalists risk their lives in pursuit of the truth every day around the world -- couldn't be timelier or more heartfelt.

Maybe the best thing about Stranger Than Fiction is the way it extracts unexpected work from underrated actors.

The plot doesn't really stand up to scrutiny, but Cairo Time works on an emotional level and is a hassle-free way to sample Egypt.

It's often flat and dull, and it can be heavy-handed with the little acorn-that-will-yield-the-famous-oak bits that so often dot biographical films about the youthful lives of famous figures.

Although the drama suffers from the episodic story structure, Zathura feels less like "Jumanji" and more like a really great episode of Steven Spielberg's "Amazing Stories" TV series.

By now, you know exactly what to expect, which is both good and bad. To my mind, Anderson reached the acme of this formula in the first go, in "Tenenbaums," and has now replicated it twice, evoking smaller pleasures each time.

It's a breezy and charming film in all, well-acted, playful and filled with real joie de vivre.

This isn't much of a plot, but as in the "Toy Story" films the combination of a varied cast of characters and a vision of the human world from an unlikely perspective make for consistent amusement.

An attractive, charming film that has fun with its period settings, its goofy plot and its off-kilter performances.

A slight, smartly dressed bit of melodrama that thinks it's gritty when it's really a bit of puff.

Soderbergh, who hasn't ever attempted a film of this sort before, brings his gifts brilliantly to bear, with gorgeous shots of outer space, delicate, swift edits and a captivating score by his longtime collaborator Cliff Martinez -- But when the script becomes more about telling -- or, rather, arguing -- than showing, the film loosens its grip.

You'll laugh and cry at the film, but you'll bridle, too, at Brooks' clumsy technique.