Deyfus' haphazard filmmaking dissipates a potentially fascinating mystery into one long diversion.

Takes a humorously gentle approach to the culture clash between the primitive and the modern. With wonderfully natural performances by the children, this is a family movie that crosses cultural boundaries in a celebration of the magical possibilities inherent in everyday objects.

Redfield's fans will rejoice, if only to see the beloved novel illustrated on the screen, no matter how tediously. The rest of us probably should stay away.

This a rapid-fire romp through "War of the Worlds," "Saw," "The Grudge" and "The Village," cut up into skits and pieced back together in some mutant jigsaw puzzle with a few pieces missing, delivers a barrage of low-minded gags with high-spirited energy.

It's a bright, swiftly paced story with some spirited humor.

Don't let the title trick you. The British comedy Kinky Boots is probably the most kinkless film featuring fetish wear ever to strut its stilettoed heels across the silver screen.

Hard Candy is not perfect, but it is a provocative piece of filmmaking with a dark and daring heart that makes it worth seeing.

Who was Bettie Page? You won't find out in Mary Harron's chirpily cheery chronicle.

It's a tricky tonal dance that Watt, minor missteps aside, glides through with feeling.

Ever wondered what the bastard stepchild of "Rear Window" and "Harry and the Hendersons" would look like? Probably not. Nevertheless, here it is in the form of a Bigfoot horror flick gone horribly awry.

It's the soulless quality of so many films that value devious plots, smug deception and quirky personality traits over actual story and character.

It's a very slight and forgettable affair, and a formula job all the way. But it's easy to watch, the dance sequences are sporadically enjoyable (if hardly innovative) and Antonio Banderas is wonderfully magnetic and charming in the lead.

While most of the film is well-written and acted, there are some difficulties. Aniston's Olivia is hard to figure.

Mullan is a great choice as Frank, playing the silent guy with all kinds of baggage perfectly.

In a better movie, this grand-dame performance might have been fun, but it's surrounded here by an impossibly dull and unsatisfying whodunit plot, unintentionally funny dialogue and such absurdities as having Catherine stay up late one night and whip out an entire novel.

Robinson makes these characters breathe, and they bring the film to life.

Not as cool as the first.

A funny, freaky, fiendishly good flick that might just find a following beyond the standard cadre of horror fanatics.

The concept is clever and Johnson's brisk editing, dynamic camerawork and snazzy transitions has fun with it all. It makes for an inspired time-warped teenage film noir.

For the most part, the film is a chaotic blur of disconnected movement that re-creates the feeling of an unforgettably bad concert experience.

It wobbles between a conventionally quirky lighthearted goof and an oddball farce in which character is sacrificed for sight gags.

With more sympathy for Johnston's suffering and less reveling in the fruits of his madness, The Devil and Daniel Johnston could have been a great film instead of a disturbing one.

Three movies gasp for life inside the clumsily titled Marilyn Hotchkiss' Ballroom Dancing & Charm School.

Director Mohammad Rasoulof has fashioned the ultimate metaphor for a society adrift from its culture.

Captures both the spirituality and humanity of monastic life.

While the significance of the imagery, including the slow disintegration of an immense piece of sculpted petroleum, is elusive, the strangeness of Barney's visual sense never fails to stimulate the senses.

A fairly routine heist drama and a never especially believable puzzle film.

An often touching and always intriguing look at the fall and rebirth of a nation and the resilient spirit of its women.