The phrase "lesbian comedy" is not exactly an oxymoron, but April's Shower is still a rarity, an expansive, talky and often zany romantic farce, with lesbian characters at its center.

Berlin is still a subject very much worth exploring on film, and his observations as an aged man are even more fascinating than the statements he made as an artist in his prime.

A viewer of the film misses any sense of what distinguishes a great Cartier-Bresson picture from a good one, never mind a bad one. And the photographer himself cannot have been happy with the short shrift the documentary gives to drawing, which occupied him through most of his last decades.

At its exhilarating best, Following Sean is reminiscent of the lauded British documentaries that began with "7 Up.''

An informative and valuable documentary about the past 30 years of messy times in Peru, but it is also frustrating.

Accomplishes the near impossible, bringing a fresh perspective to a horrific subject.

The prologue sets a simpleton tone that, distressingly, continues throughout.

Allen's most satisfying film since "Bullets Over Broadway" (1994) and his most compelling since "Crimes and Misdemeanors" (1989).

What's Christmas Day without a good serial killer movie?

A light film, airy, likable and set in Venice.

The movie has that fatal triptych that is becoming Reiner's romantic-comedy signature: drippy sentiment, zany scenes that trivialize the characters and a horror of adventure.

A masterpiece.

Strives for an airy, merry amorality, but it never quite achieves liftoff, though at times it comes close.

An unlovable movie. It's morally ambiguous, which means there's no real rooting interest. It's episodic, with the same kinds of episodes repeated over and over, so there's little sense of forward motion. It feels philosophically and politically confused, so there's no message to take from it.

In the important things, in all the ways that really count, Caché is a handsome fraud.

The movie's shockingly tasteless setup is also its secret weapon. Despite many scenes in The Ringer that could individually be viewed as politically incorrect, audiences will be laughing with the athletes most of the time.

One of the most visually sumptuous movies you will see this year.

A few amusing moments mixed in with the painful ones.

The new film's social message comes through loud and clear, but something in the comedy seems constrained -- effortful, yet muffled. It might be a matter of the right tone never having been found.

This is Merchant-Ivory's kind of showmanship, the unflashy adult variety of movie magic that they made their hallmark.

Bezucha made something perverse, a feel-bad holiday film about a repellent family, with a milquetoast dad and a smug, devious harpy of a mom.

The film is dreadfully slow without much in the way of rewards.

Most of the bits and performances have a hard time making the transition from stage to screen.

Hoodwinked is a computer-animated, "Shrek"-style satire of "Little Red Riding Hood" that offers a few laughs but overall is pretty tired.

On its own terms, the film is overlong, repetitive and lacks impact. Even if this were the first gorilla-in-love movie ever made, audiences would come away vaguely dissatisfied, suspecting there was an intriguing idea buried somewhere in here, but it didn't quite come off.

Carries a lot of emotional power.

Too labored and cliched to incite passion in an audience.

Has an old-fashioned feel, as if it had been made in the period of its setting. I mean this as a compliment.