A loving if fawning documentary.

There's no satisfaction and no pleasure to be gained by sitting through it. The characters are ludicrous and, worse than that, boring. And this is despite all the lead actors doing the best they can.

Dawson turns out to be a necessary ingredient, propelling the emotional core of the film forward, while somehow convincing the audience that a smart, attractive woman could find a schlub like Dante desirable.

Has the strengths and weaknesses of a one-man show.

Monster House was designed as a family movie and a scary movie. It may scare children, but it won't terrify them. So it's no scarier than it should be.

The movie is unable to achieve lift-off and transcend the formulaic stuff coming out of Hollywood, despite the perfect casting of Uma Thurman.

It is probably Kitamura's best film.

A bunch of gags, most of which you've seen in the trailer, strung together by any means necessary.

It's just off, odd and joyless.

Techine doesn't have much of a story to tell, so instead of moving the narrative forward, he expands it laterally.

The star's amusingly inventive performance keeps your attention through predictable early scenes when "Ohio" repeats familiar material on women's sexuality. It's like a continuation of "The Vagina Monologues" to see Liza Minnelli, as a New Age orgasm coach.

Not up to Ozon's standards.

The film's impact has a lot to do with Fabio Vacchi's original score, which is both plaintive and coldly modernist, with echoes of Charles Ives.

Overlord is an ambitious, important experiment that has come to light after three decades of neglect.

This is like any other Edward Burns film, except for one thing. It's unmistakably better. This is the movie I believe Burns has been trying to make since "The Brothers McMullen," 11 years ago.

More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.

The visual style and lethargic pace can be frustrating -- at least if you're sober -- but the animated tragedy is still a success.

Imagine the worst "Deadwood" episode ever, and you'll get an idea of the general tone of Beowulf & Grendel, which is full of anachronistic cursing, tortured syntax, dark humor and lots of hairy, homely, filthy-looking people.

What fun this documentary is.

As a romantic comedy, Cease Fire is more annoying than amusing.

The film offers something unusual, a tragic spectacle of normal, recognizable and utterly sympathetic people condemning themselves.

Prada just feels authentic, from its glossy look to the specific and sometimes curious behavior of the secondary and tertiary characters. To watch it is like being entertained while getting an anthropological crash course.

The movie consistently delivers in lots of little ways, but in a big way only once, in a spectacular sequence that begins with a series of earthquakes and culminates in an airline catastrophe.

Pleasant and surprisingly hard-edged coming-of-age indie film.

The best thing about Strangers With Candy is its relentlessness. It doesn't back off on its absurd humor, doesn't try to make sense and doesn't soft-pedal the characters.

A balanced examination of the reasons for the electric car's disappearance, reasons that include corporate collusion and greed, governmental spinelessness and oil company propaganda -- but also consumer indifference and the limitations of the vehicles themselves.

The result is a well-intentioned mess -- a dishonest fantasy that begins with promise and gets more frustrating with every scene.

One of the best American films of the year so far.