A funny and appropriately skewed comedy.

A somber polemic that presents a convincing case against using war as an economic booster -- although, Jarecki argues, that is precisely what the United States has been doing under every president since Truman.

A Christian-themed film about redemption with almost no redeeming qualities as entertainment.

Humorless, confusing and not very fun to watch.

A loose, amiable documentary tracking several decades in the life of this most unusual farmer.

A series of vignettes that are edited in much the same way one might click from one random Craigslist posting to the next, the film is a fun and free-form celebration of the site's communal spirit and only-in-San Francisco ethos.

If you can get past a few swear words, the film's simplicity makes Glory Road a good starting point to get young kids to talk about racism.

This harmless bit of fluff lacks the element of surprise but is not without random charming moments supplied by its incandescent star.

Everything connected with the lovers, who are the point of the movie, is either ordinary or unwittingly funny, and the laughs come early.

The phrase "lesbian comedy" is not exactly an oxymoron, but April's Shower is still a rarity, an expansive, talky and often zany romantic farce, with lesbian characters at its center.

Berlin is still a subject very much worth exploring on film, and his observations as an aged man are even more fascinating than the statements he made as an artist in his prime.

A viewer of the film misses any sense of what distinguishes a great Cartier-Bresson picture from a good one, never mind a bad one. And the photographer himself cannot have been happy with the short shrift the documentary gives to drawing, which occupied him through most of his last decades.

At its exhilarating best, Following Sean is reminiscent of the lauded British documentaries that began with "7 Up.''

An informative and valuable documentary about the past 30 years of messy times in Peru, but it is also frustrating.

Accomplishes the near impossible, bringing a fresh perspective to a horrific subject.

The prologue sets a simpleton tone that, distressingly, continues throughout.

Allen's most satisfying film since "Bullets Over Broadway" (1994) and his most compelling since "Crimes and Misdemeanors" (1989).

What's Christmas Day without a good serial killer movie?

A light film, airy, likable and set in Venice.

The movie has that fatal triptych that is becoming Reiner's romantic-comedy signature: drippy sentiment, zany scenes that trivialize the characters and a horror of adventure.

A masterpiece.

Strives for an airy, merry amorality, but it never quite achieves liftoff, though at times it comes close.

An unlovable movie. It's morally ambiguous, which means there's no real rooting interest. It's episodic, with the same kinds of episodes repeated over and over, so there's little sense of forward motion. It feels philosophically and politically confused, so there's no message to take from it.

In the important things, in all the ways that really count, Caché is a handsome fraud.

The movie's shockingly tasteless setup is also its secret weapon. Despite many scenes in The Ringer that could individually be viewed as politically incorrect, audiences will be laughing with the athletes most of the time.

One of the most visually sumptuous movies you will see this year.

A few amusing moments mixed in with the painful ones.

The new film's social message comes through loud and clear, but something in the comedy seems constrained -- effortful, yet muffled. It might be a matter of the right tone never having been found.