It's a ton of fun, a totally irresistible tale of gambling, greed, love and violence. With gorgeous actors, designer clothes and thrilling action, it's fast-moving (even at 2 hours, 20 minutes) popcorn entertainment.

Those who love Nader will appreciate the respect and attention given his career. Yet others, even those for whom the mere sight of Nader's face is enough to cause a spike in blood pressure, will appreciate the film's evenhanded elucidation of Nader's faults.

Not since "An American Werewolf in London" in 1981 reset the standard for man-to-wolf transformations has anyone tried to get away with special effects as pitiful as the ones in this movie.

Rough around the edges, but once you get used to the laconic pace, the plot grooves along nicely.

Only a complete idiot could think Epic Movie is remotely funny.

Even more nihilistic and confused than "Narc," and yet a lot better. It's better for some specific and interesting reasons.

A Western short on dialogue and long on pomposity, is little more than an extended chase scene down a snow-filled mountaintop to a desert floor.

The most heartbreaking, moving film in theaters right now.

Any good will built up during the decent first half hour is quickly vaporized.

The result is a deeply moving experience, alternately funny and sad.

Lattuada has adapted a gritty neorealist style to suit his dark comedy and is in full command in the final half hour, when he ups the ante in surprising ways.

The whole thing is dizzying, like "Moulin Rouge" without songs and dances extolling love.

Stomp the Yard, at nearly two hours, has a decent story, a good subject and a horrible plot.

A well-made culture-shock documentary.

The movie is one big in-joke. It's watchable, but eventually wears you down with its over-the-top cleverness.

In many ways a meandering film, a collection of good scenes.

The best that can be said of this charmless animated picture is that whether or not it ends happily -- an outcome you're unlikely to give a hoot about -- it does, happily, end.

Overall Freedom Writers is a noble effort. At a time when New Year's resolutions to change already are falling by the wayside, you can't help but be moved by a group of young people who followed through on their resolve.

Although the finished product isn't great, it's more akin to a bad Steve Martin movie from the 1980s than bad Pauly Shore from the 1990s. We mean that as a compliment (sort of).

Visually stunning, it meshes haunting images with a complex multilevel story about the enchantment of youth.

This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.

In every way, Miss Potter is a very beautiful thing.

The film is mired in gloom, not just sadness, but heaviness.

This is a movie about power, and its spectacle is that of a woman losing all of it.

The filmmaking is unremarkable, but the obsessiveness of the lead character is infectious enough to make this drama passable entertainment.

Oristrell's comedic sense only seems to succeed in spurts, and he often burdens the proceedings with a theatrical and contrived air that undermines the humor.

Besson is a pro when it comes to action movies, but this part live, part animation effort is a mess, highlighted by creepy animation, derivative plot points and a child star who speaks way too fast.

Remember that manic, rambling Oscar acceptance speech, when Benigni leapt around the auditorium? That might have been charming for two or three minutes, but imagine two hours of it.