It's not a political film, but it's also not a bland recitation of homilies about the honor of serving one's country. It's a jokey road movie, in which three soldiers heading home from Iraq are forced into a cross-country van ride together.

Not the stuff of greatness, but you couldn't ask for a better time to see it.

Grabs a fistful of hot-button story elements -- race, sex, politics -- and promptly mixes them into the thriller equivalent of tapioca.

If you're an actual adult who likes old-school Westerns, this won't disappoint you.

Ultimately, though, it's unfortunate that the movie tries to make so many oblique comparisons to more modern tragedy (paparazzi with sketchbooks; yes, we get it!), since Georgiana's life seems fascinating enough on its own.

Nothing more and nothing less than a savvy and talented cast having its way with a clever, hilarious script, with absolutely no weighty issues at stake.

Is there anything more depressing than when middlebrow filmmakers decide to remake bona fide classics that did not, under any circumstances, need to be remade?

Beautifully acted and accomplishes exactly what writer/director Alan Ball set out to accomplish.

If you've been wondering what Billy Elliot would look like all grown up, naked or in a fetching frock, here's your chance.

In the end it may amount to little more than an exotic fable, but it is a particularly conscious, wise fable.

In the end it's those amazing, nutty set pieces, coolly guided by the veteran director, that make it all worthwhile.

Its easy to see why Don Cheadle wanted to play Samir Horn, the hero of the post-9/11 thriller Traitor. Cheadles face is basically a perfect delivery system for woe, sadness and internal conflict. And Samir a deep-cover operative trying to infiltrate a terrorist outfit has to make brutal Sophies Choices roughly three times a day.

Occasionally sloppy, with a finale so abrupt and incoherent that it feels like something is missing. But it's also pleasantly odd and truly funny, and it builds in strength as it goes along.

Cthulhu (kuh-THOO-loo) shows that you can't go home again. Seriously: Don't ever go home -- you'll be sorry.

The film works as well as it does thanks to Kimberly Roberts' magnetic screen presence.

Perhaps the most indispensable cast member is the Jacobs' dwelling, their residence since 1966.

An informative and frightening documentary.

Unlike its predecessors, this one doesn't even try to aspire to myth. It aspires only to merchandising.

Sincere, delicately funny, a little staid, a little precious, and more interested in the ebb and flow of the heart than in the dubious rewards of sensational narrative twists.

The symbolic ending may strike some as a letdown but it's well-played by Sagnier, capping another in a string of memorable performances.

Every so often there's a tabloid news story about the Virgin Mary seen in a piece of toast or Mother Teresa on a tortilla, and most of us equate them with Elvis sightings. This film is for the rest.

Fairly lightweight, going after targets we can all agree deserve the needle. But there are five, six, seven gags you've never seen before -- real surprises- -- and the film deploys them smartly to keep you laughing and unsteady for the duration.

The film is exquisite on every level, full of sadness and emotional surprise.

So filled with verve and wit for much of its running time that it's depressing to watch it devolve into genuine foolishness and borderline incoherence in its final act.

Bottle Shock never quite connects. And considering the more recent transformation of Napa, the movie's triumphant ending rings a bit false.

Most frustratingly, Smith's powerful music is heard only in snatches.

Shrill, unfunny third installment.

If the title hadn't already been taken by another equally strained recent comedy, the new Kevin Costner vehicle could have been dubbed "Idiocracy."