Will wring some laughs out of anyone but the most humor-impaired.

Taking your very small child to this movie is only a slightly better idea than a trip to "The Final Destination." With that warning out of the way, this action adventure is a big treat for more mature animation and science-fiction fans and a triumph for the young director.

No film could convey all the complexities of the case - what Crude does is air the plaintiffs' claims and show the lawyers at work.

The production values are first rate. But you will wait in vain to hear a good reason for this movie's existence.

There's no footing in reality. Nothing about it feels authentic: not the blathering Mary, not the lifeless secondary characters, not the bromide-happy dialogue or the plot that twists less often than it spasms.

Isn't an instant classic, but it bumps along agreeably.

The acting is good, particularly by Faour, who plays the naive, zaftig heroine as warm and appealing despite her troubles. It's also nice to see veteran Palestinian actress Hiam Abbass ("Lemon Tree"), who plays Muna's sister.

There's valuable information here and some human stories that deserve to be heard.

A crisp and entertaining documentary.

Harris saw this brave new world more than a decade ago - and liked what he saw. To watch We Live in Public is to wonder if the world we live in is just a reflection of one man's neurosis - if Harris's mix of emotional distance and rabid self-promotion has simply gone viral.

Sad, funny and painfully honest.

A stark, minimalist drama.

Has all kinds of good intentions, but the comedy is too broad and the pacing is clumsy. And then there's the Andy Griffith sex scene.

This movie isn't horrible, but it seems like a waste for Zombie to keep revisiting someone else's world.

If you've ever wondered what it would be like to be there - to actually be there, man - this movie gets it.

It's not enough to say that Inglourious Basterds is Quentin Tarantino's best movie. It's the first movie of his artistic maturity, the film his talent has been promising for more than 15 years.

After leading the audience into some very inky satire, Goldthwait backs off.

A harmless, aimless, mildly funny and thoroughly predictable comic-romantic piffle.

It's more of a burst pinata than a story, a wild, kinetic jumble of images, ideas and flying-candy-bar product placement that would offend if it weren't so forthright.

For a thoroughly fascinating, true glimpse into the horrors that vanity and self-delusion can wreak, take some time to see The Baader Meinhof Complex.

An imperfect but intensely human movie that ponders the aftershock of violence, could have been an exercise in overacted sappiness. Instead, it's as hard and uncompromising as remorse.

Poorly written, contains too much hero worship and profiles too many events - including one that combines the high jump with motorcycles. But the documentary generates a remarkable amount of goodwill with its stunning visuals, which look breathtaking in 3-D.

There so much entertaining information in Art & Copy, a documentary about modern advertising, that it takes a while to realize we are being sold something

A completely appealing, beautifully preserved memory piece - a grand, colorful coming-of-age story with a candy box color palette and a standout performance by Renée Zellweger. It's a great story and a great crowd-pleaser.

The director has said that, though the story was inspired by the deaths of his parents, he hoped to make a film "brimming with life." He's succeeded.

Martel's vision is so visually rich and complex it borders on the impressionistic, but The Headless Woman would be nowhere without the precise tour de force performance by Onetto.

Every now and then, a film comes along that both defies and compels description. District 9 is one such movie: a science-fiction action vehicle so brilliantly and fully imagined that real life, when it resumes after the credits, arrives with a new sense of dread.

One of Miyazaki's most kid-accessible movies, but still an unnerving film.