Fortunately, !Woman Art Revolution isn't a stuffy museum piece. It's an important documentary, sure, but it's also playful and engaging.

Richard Attenborough nailed that purity 64 years ago, and Sam Riley nails it now. His Pinkie is a slim, mesmerizing package of immaculate and undiluted evil, clear as a stick of Brighton Rock candy.

All of this amounts to so much stylish nostalgia - not half as repulsive as the splatterific torture porn currently dominating the horror genre, and not half as cynical, either.

Easily could have been mildly funny and phony but instead is really funny and true to life.

Perhaps the film's greatest strength is the performance by Kwanten, who appears in HBO's "True Blood" and may be familiar from his lead role in the big-screen Aussie thriller "Red Hill." Dermody also does well.

The protagonists and their idle dreams of a fiery wasteland may well be nihilistic. But the movie - with its stunning cinematography and lingering aftertaste of old-school heartbreak - most assuredly is not.

In Amigo, a story of the Philippine-American War, veteran filmmaker John Sayles allows his political convictions to get the better of him. The movie is a heavy-handed attack on U.S. imperialism with little to compensate in the way of character interest and genuine drama.

What makes the movie succeed is that Dorman doesn't only focus on the life of Aleichem (who had a tendency to build fortunes and then lose them), but a look at a society long gone and the legacy and traditions they and Aleichem left to Jews around the world today.

July also narrates the film, in voiceover, as the cat, and every time she does, it's a white-knuckle thing. You have to hold on until she stops.

Fright Night isn't quite a classic vampire movie, but it's refreshingly straightforward and self-deprecating.

Morgan Freeman's voice is heard as the narrator, which is in itself the stuff of parody. Then we listen and get lost within two sentences, because the narration is so poorly written that Freeman himself probably didn't know what he was talking about.

One Day is a beautiful movie, but beautiful in a way that life often is, not movies. Nothing is sudden or easy, either for the characters or for the audience, and there are no thunderbolts from the blue.

Clumsy and ineffective in its first half hour. But gradually, as her investigation deepens, and we see the true hideousness of what she is uncovering, the movie achieves urgency and clarity of purpose.

Manages somehow to be gritty, delicate, in your face and nuanced at the same time. It's a beautiful, compelling, sometimes harrowing family drama, with excellent performances across the board.

This one is dazzling.

No target is too obvious for Salvation Boulevard, a farrago of cheap shots aimed at Christian fundamentalism. It's a blunderbuss satire that criminally wastes a talented cast.

30 Minutes or Less is a strange case. Either it goes for a particular tone and doesn't achieve it. Or it does achieve a tone that's not really worth striving for.

It's a celebration of nerd pride in all its many-feathered glory.

Final Destination 5 is irresistible, and the reason it's irresistible is that it speaks to us in the language we all understand, which is fear.

Good story, great characters, a setting plucked from history - and a multiracial, multigenerational ensemble cast stacked with fabulous actresses. But the thing that makes The Help such a rousing crowd-pleaser is its generous helping of baked goods.

Between Two Worlds, written, produced and directed by Alan Snitow and Deborah Kaufman, takes on too many worlds and too much politics in what could have been a gripping, straight-up documentary about a crisis in Judaism in the United States.

This film delivers an emotional wallop, and it's hard to argue against that. Don't miss it.

Crisp, acid-tongued and sharply acted, it's the sort of exercise in tangy Celtic cynicism that's become one of the Emerald Isle's most reliable exports.

The period footage shows all the principals, including Neal Cassady, who was only 38 but looked 52. Ken Kesey emerges as the film's hero - he is presented as a great American adventurer, the psychological equivalent of Lewis and Clark. Maybe that's not as ridiculous as it sounds.

Even if it means blowing more than half the budget on animal wranglers, any movie that profiles Saddam Hussein's eldest son and Iraqi psychopath Uday Hussein is incomplete without the presence of his personal zoo. It's like filming a Michael Jackson biopic and leaving out the chimp, Ferris wheel and kid who played "Webster."

It does provide audiences with the satisfaction of seeing and hearing an important truth expressed, and that's better than making you feel good. That's making you feel something.

The film is often funny and even more frequently vulgar, exploiting every last chance for raunch in the full-chassis exchange of two grown men. The only thing missing: male nudity.

It is not what could be fairly called a bad movie, but neither is it fine enough to be a good one, with its lineup of dull characters and a limp story that functions like a conveyor belt.