Eventually arrives at a lovely place, but it arrives limping. Small but nagging problems drag it down, such as weird acting choices, bizarre casting and strange aging makeup.

This is Baumbach's best yet.

Helm gets huge bonus points for noticing everything that's annoying about modern children's films and including none of those things in his movie.

It isn't elegiac, but enraged. It doesn't look back with sorrow, but forward in dread. And it's made with a clear intention - to stop the Iraq war.

The character isn't just shtick, though. As Billy, Talen has staged many protests in Times Square and anti-shopping "interventions" at retailers, where the managers, to say nothing of the New York police, often have failed to see the humor - he's been arrested dozens of times.

A mess, and that's really a shame.

Feels positively Greek in its magnitude, a lament about fate, age, time and life.

This is just plain bad - and it's a surprise.

This is responsive, engaged filmmaking, the kind of movie they say Americans don't make.

Standard-issue slasher pic.

Beautifully filmed.

Might have been more effective as a documentary.

Both revealing and evasive.

A terrific documentary about forbidden love in the most heinous of places.

Ridley Scott gives it the grand treatment, 157 minutes worth, but in the end, it doesn't stack up as the portrait of an era (the 1970s, in this case) or an important tale of a criminal mastermind.

Has a few charming moments and a scene or two with legitimate hilarity, but mostly it's just mediocre.

Instructive as a portrait of activism.

One of the most direct and personal music documentaries ever made.

It's off in many directions - false in its details, false in its relationships, false in its emotions - but probably the first and worst thing that needs to be said about it is that it's also overlong and dull.

Its virtues are velocity, energy, innovative storytelling - and something that seems even more the province of young directors: a certain heartlessness and ironic distance in the tone.

A tearjerker that earns its sobs with heartfelt emotions.

Dan in Real Life fires on so many circuits that at times it's actually shocking how good it is.

An intriguing document, and the first significant film ever made about a former U.S. president.

Rarely rises above the level of a TV movie.

Chock-full of holes.

One more small thing: Every other scene in Saw IV starts and ends with a potential victim pressing "play" on a tape recorder, to the point where it's almost funny.

Exhilarating for Lynch diehards.

A well-paced and entertaining horror debut.