A junior version of "Fight Club," only with no movie stars and different moves.

A slow-moving family drama guaranteed to induce a nap if not somnambulism.

Has a solid story, which keeps things interesting during the quiet moments when nobody is getting kicked in the head.

Just because it's a conscious commentary on other vile, useless, pointless cinematic exercises doesn't make it any less vile, useless and pointless.

A potent drama from Yang Li, one of China's Sixth Generation filmmakers noted for the stark realism and documentary feeling of their work.

Completely ridiculous, but fun to look at.

A brisk, entertaining crime thriller.

Relies on slapstick scenes that are neither essential nor especially clever.

It's a drama with elements of black comedy and suspense, European in feeling but American in attitude. Just for fun, it's set in 1949, an era of glamour, of Hitchcock and of husbands even more clueless than they are today.

Frothy and exuberantly entertaining - in part because of the sexual innuendoes - it's the best romantic comedy so far this year.

Appropriately structured like a ride on skateboard: It swoops back and forth in time, hovers in midair, twists back on itself over and over again, then rolls into silence.

Revelatory as well as unsettling.

A bit of a letdown. The manic comedian who has gained fans worldwide for his outrageous slapstick and special effects-driven antics in "Kung Fu Hustle" and "Shaolin Soccer" takes a backseat this time - and that's part of the problem: This is lesser Chow because there is less Chow.

As the camera follows four campers in a Portland, Ore., rock school for girls, the result is less a journey than a collage of random thoughts, circumstances and events. There's plenty of telling, but not enough showing.

Simultaneously a sports adventure film, a tear-jerking tale of hope and inspiration and a captivating meditation on culture clash.

A compelling and visually arresting drama.

When you've got three of the nation's best actresses in leading roles, it doesn't matter if your script is only adequate and the audience really has to squint here and there to believe what's happening on the screen.

The movie's effectiveness is distorted by its hero-worship of the Chicago defendants.

An enjoyable movie with an entertaining angle on a hard-to-resist period of history.

Surprisingly pedestrian.

The performances are the best part of this uneven film.

The laughs do come, but not as readily, not as heartily and not as joyfully as you might expect.

What's unforeseen in Unforeseen, a superior documentary by Laura Dunn, are the consequences of a certain mind-set about mankind's relationship to the world and, finally, to itself.

A relentlessly earnest teen film.

The picture eventually collapses under the weight of its own gimmickry, but it's still an entertaining distraction for cerebral horror fans who want an appetizer before the B-horror feast that is "Diary of the Dead."

Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.

Well made, provocative and compelling.

Vantage Point has nothing going on. There's no artistic, philosophical or even jolly entertainment reason for adopting this strategy. It's just arbitrary, a gimmick.