Succeeds in its modest goals of building tension slowly and generating a handful of legitimate scares. A few people in the audience were laughing during the first half of the film. No one was laughing during the long walk out of the theater.

If Max and his "Hell" collaborators feel stymied by the summer hit "The Hangover," they'd be justified to scream to the bromance gods that someone stole their film's concept. But those guys did it the right way, bro.

Coco Chanel is not the most lovable of heroines, but it's a strength of the film that director Anne Fontaine allows Tautou to make Coco as cold and ungiving as she does.

Owen is a magnetic, sensitive presence at the center of a movie that doesn't deserve him and that barely deserves to be seen.

Much of the movie has a structureless, documentary feeling to it, which is good and should have been pushed further.

The Providence Effect" is flawed, but it's still a moving film.

No matter where you stand, there's no denying "Capitalism" is flat-out polemic wizardry.

Much of the action onscreen doesn't ring true. Seasoned independent film director Henry Jaglom doesn't just explore the subject - he smothers the audience with it.

Dull and unilluminating.

Matt Damon's old-fashioned, brilliantly calibrated character turn as a corporate schnook-turned-whistle-blower; and Marvin Hamlisch's retro-groovy score. For the movie's first hour or so, the pair of them together make for four-star entertainment. The last half hour, not so much.

A dead-serious piece of activist filmmaking.

Delivers all the pain, melodrama and redemption that fans of the genre demand.

Enjoy the film for its witty dialogue and fun performances, but know that there isn't a single good scare. An episode of "Murder, She Wrote" has more thrills.

Klapisch's masterstroke was to place at the center of a movie a man, forced by circumstances, to stop and simply observe.

The main drawbacks of The Burning Plain are its intentionally coy narrative and a zero-hour revelation that's ill-thought-out and generates some pretty chintzy psychobabble. It's the wobbliest element in an admirable, complex and frustrating movie.

A peppy, bouncy documentary that is watchable and informative, although Tickell's celebrity name-dropping at times detracts from the serious message.

A fine-boned, luminous tribute to Keats and the sufferings of love.

Hushed minimalism is a rare and appealing quality in the cinema these days, but so little happens in 35 Shots of Rum that I'm hard-pressed to describe the plot. It doesn't exactly have one.

Anyone with any doubt as to the importance, in a functioning democracy, of American newspapers - with working newsrooms full of professional, paid journalists - needs to see this movie.

It may not be the greatest of cinematic exercises, and it often feels contrived, but this documentary somehow is enlightening, ridiculous, foreboding and funny at the same time.

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.