Despite a too slow pace for my own tastes, Hauer helps move the film along by being captivating even in just a few scenes. He, Michael York as a businessman and Charlotte Rampling as the Virgin Mary provide what little dialogue exists in a screenplay that could have used a little more backstory.

I've seen many films about Italy, but this one - possibly because it's so colorful and stylized and possibly because the songs are such economical distillations of a state of mind - feels like being there.

Sarah Palin -You Betcha! is probably the scariest movie you will see all year.

There's no greater meaning to any of this, and the slapstick turns won't seem particularly ambitious to anyone who grew up on Bugs Bunny cartoons.

We are told at the film's beginning that we are about to see a "diary of suffering," and it is that, but the effect, after four-and-a-quarter hours, is exhilarating.

She's hopeless, he's hopeless, and this movie is just ghastly.

Is he a hero or a lunatic? He's possibly neither, or possibly a little of both, but this is the problem with making a movie about a real person.

Just as essential is Seth Rogen, as Adam's best friend. Rogen isn't even 30 yet, but he is already an important actor - not just because he's popular but because he best embodies this particular comic moment.

Despite its fascinating and humorous moments, one can't help but be frustrated when at times it switches away to spiritual pretentiousness.

City of Life and Death, a stunning re-creation of the Japanese army's annihilation of Nanking in 1937, will make you flinch, even as you admire its brilliant black-and-white cinematography, breathtaking art design and unerring direction.

Interesting and often compelling, and a must-see for organic food zealots.

Sometimes the film, even if it's a "mixtape," bites off more than it can chew, delving into the Attica Prison uprising, heroin addiction and the Vietnam War. But all in all, this film will give you a new perspective on the past - and the present.

The film is morbid and mawkish, and packed with enough forced whimsy to make you scream.

Director-co-writer Gary McKendry seems to know a thing or two about hard-fisted fight scenes, but he muddies up the visuals with obligatory spasms of shaky-cam.

Casadesus infuses Margueritte with a lilting quality, underscored by the sadness of someone who knows she is the last person standing and inhabits an alien world.

Even with the conflict overkill, most of the small moments ring true. Dolphin Tale has more in common with "The Swiss Family Robinson" than most modern live-action family movies, where slapstick and cheap laughs feed short attention spans.

Naysayers have been claiming for years that the "Moneyball" book wouldn't work as a movie. But ultimately, it's the cinematic touches that keep this film version from becoming something exceptional.

The film takes its time detailing his mundane activities, often withholding the kind of information audiences usually expect, and it's Puiu's talent to transform it all into a highly disturbing portrait - both of an individual and a society.

Because Benavides is a south Texas town, the screenplay touches inevitably on the flow of immigrants at the border - and resentment at their presence. But All She Can puts a new face on this resentment, highlighting the frustration of legal Mexican Americans.

Pure escapist hokum, with action choreography by Sammo Hung, but I sure miss that old-school wire work.

The film perhaps shines brightest when it depicts two telling relationships Nannerl has outside her family. The first is with Louis XV's 13-year-old daughter, Louise...The other relationship is with Louise's troubled brother, the dauphin.

Rod Lurie's heated but empty-headed remake re-creates the original's trudge toward savagery but can't re-create its social context - and doesn't bring anything new to the table.

Spiffy-looking, well-intentioned but ultimately witless film.

Mainstream audiences will probably be confounded by Drive, while lovers of gritty filmmaking will defend every exaggerated shotgun wound as art. Know which camp you're in before you enter the theater.

Has to rank right up there as one of the oddest films of the year. But odd in a very good way.

Littlerock could easily be described as the flip side of "Lost in Translation": Instead of Americans struggling to communicate in Japan, it's the Japanese who are out of the loop when they get stranded in the outer, outer fringes of the Los Angeles area.

The movie is anything but flawless. There are flourishes that seem plucked from Errol Morris' work but aren't as good, and some re-creations of past events are hokey. It's the film's content that packs a punch.

This movie doesn't work unless the central relationship between Atafeh and Shireen works. It does, beautifully; whether together in a nightclub or alone in a bedroom, Boosheri and Kazemy find a delicacy and sensitivity that reinforces, not diminishes, their strength.