Gets better as it goes along.

Some of the results are delightfully loopy. Some are cornball.

It's surprising how dated some of the humor is.

The result is an excellent film - entertaining and informative and sometimes stunning in its display of the personal demons shared by these two geniuses.

When Christian Bale allowed himself to play Bruce Wayne in "Batman Begins," he was slumming - and to good effect. But with Terminator Salvation, this ostensibly serious actor takes up residence in the action ghetto, and it's not a good fit.

The most compelling footage was taken during the uprising of August and September 2007, which put a bad scare into the government because a large number of Buddhist monks played a prominent role.

Audiences watch Summer Hours and then, a week later, remember it as though they've lived it.

Emotionally, The Brothers Bloom hasn't a trace of detachment or cynicism. Even if you don't quite comprehend the ending (there seem to be 12 of them), you'll still feel the wallop of its consequences.

Preposterous.

But the film written, directed and starring stand-up comic Hitoshi Matsumoto has, like most superheroes, a tragic flaw: It isn't funny.

This is a movie made by and for adults, and adults should consider seeing it.

Painless and predictable, with an amusing if overwrought featured performance by Woody Harrelson.

Adoration, despite a family resemblance to some of his finest work ("The Sweet Hereafter," "Ararat"), is Egoyan at his worst. The movie is slow and airless, with a script so weak one wonders why Egoyan bothered to film it.

Goes to all the places a sensitive character study might have gone, but more dramatically, convincingly and vividly.

Director Paul Morrison ("Wondrous Oblivion") nicely re-creates the period, but puts too much weight on the sexual relationship as determining the men's artistic courses.

This movie could really use an Avon Barksdale, but even actor Wood Harris, who played drug kingpin Barksdale in "The Wire," seems a bit lost.

A powerful new documentary that addresses the issue of "hypocritical" male politicians.

At its best, the effect is like seeing life panoramically, past and future, simultaneous and magnificent.

The result is that rare movie specimen, a completely intentional, expertly guided work of art that fails almost completely.

An extraordinary film, mythic in feeling.

Credit the director for one thing. He could have stretched it to three hours, but he gets in and out of this mess in less than two.

The plot is an obvious parable for modern dilemmas, yet in the hands of the film's creators, and with their graceful use of 3-D, viewers feel as if they're watching how the future might actually unfold, glimpsing a conflict that's destined to take place 300 years from now.

Has some laughs - more than a few thanks to Michael Douglas as a dead swinger (the movie's Jacob Marley) - and some moments of tenderness, too.

A movie that doesn't quite have enough romance, thriller or revenge-fantasy elements to qualify for any of those genres. More than anything, it's a celebration of uncomfortable silences. The awkward moments in this movie far outweigh the joyful or tragic ones.

While recognizably Ceylan's work, is more of a genre piece - a noirish suspense film - and less successful.

Has an air of detachment and sadness, enhanced by the movie's being set a full quarter century ago.

In a genre where too many films are all brawn and no brain, Fighting is a contender.

We see the tormented, limited and potentially dangerous man underneath.