Stylistically, Religulous is very much like a Michael Moore documentary, in that most of the scenes have a comic structure, end with a punch line and are designed to make Maher-the-interviewer look sane and rational while his subject comes off as a complete fool.

The result is an initially hilarious picture that grows perplexingly trite as screenwriter Peter Straughan transforms Young's sly observations into assembly-line pap.

Let's call this "High Fidelity Nano." It's a little bit less in every way, lighter and cuter than its archetypal elder, but it might just fit your present lifestyle all the better. Who needs to go back to the polysyllabic spree of John Cusack channeling Nick Hornby when you have Michael Cera making awkward emo look so lovable?

It's hardly a must-see laugh riot, but it is a good chuckle, and it does its job well.

It's very slick and small children will enjoy it, but it has little of its model's special magic.

Meirelles adds another perspective, that the epidemic might be a good thing if, by being thrown into the darkness together, we may once again recognize the human family to which we all belong.

An uncompromising and ultimately chilling look at individual creativity trampled by corporate greed, and its timing could not be more appropriate.

True to the characters and their conflicts, the resolution is neither neat nor expected. True to Demme, it's honest and generous and very human.

Hammer filmed on location with local nonactors. Their lack of polish is evident -- Smith's inexpressiveness, though part of his character, is simply blank at times -- but their conviction can be just as powerful.

The movie is so engrossing as an intellectual puzzle and such a solid thriller in every other department that it's probably actor-proof.

A slow-moving, unashamedly weepy, middle-age love story of the kind big-studio Hollywood doesn't often make anymore.

It's all too much and too little: a history lesson in institutional racism that falls into character cliches, a human drama that gets lost in melodramatic detours, a war movie put together by a fan rather than a filmmaker.

A strangely warm, affectionate look at bad behavior amid emotional damage and a stranglehold of identity issues.

Burger is so respectful of the trio that he never gets under their skin. Apart from the generosity of strangers who pay tribute to the soldiers with little acts of kindness, you get the same generic observations of any road movie.

Not a moment rings true in this sentimental drama.

Ghost Town reworks "Ghost" as a romantic comedy with a miserable hero who sees dead people and is really annoyed by them.

Too bad Igor didn't jolt the film to life with his Frankenstein shenanigans.

When a film has to blare its racially and incendiary stance as obviously as Lakeview Terrace, you know it's trying too hard.

An old-fashioned Western with all the classic elements -- buddy loyalty, stalwart heroes, despicable villains, plenty of gunfights and marvelous wind-scoured desert landscapes -- marked by some modern ideas about relationships.

Is it too much to ask that the fictional scenes have at least some of the complexity and unpredictability of the real-life theater?

Provided you don't take it seriously, it makes for an addictively entertaining diversion that's as hard to stop watching as the books are to stop reading.

Contrary to its title, Virtual JFK is less a counter-history of the Vietnam years than a tribute to John F. Kennedy's stubborn resistance to a military that pressured him to go to war on six occasions during his short presidency.

One of the Coens' more playful projects, much lighter and significantly slighter than "No Country for Old Men" or "Fargo," but it's put together with such perfection that you can't help but be won over.

Feels the scratches of too much time and tinkling and is as disjointed as a dislocated shoulder.

Ball's snide humor and cynical arrogance undercut his message at every turn.

Were it not for its pat resolutions, Mister Foe might deserve a mention alongside such classic psycho-sexual thrillers as "Vertigo" and "Peeping Tom." Instead, Mackenzie has reined in the strangeness to deliver a conventional, if better than average, mystery.

Yu has a good time making fun of white people, in particular a pair of rival ping-pong teachers who seem inspired by the gay villains in the Bond film "Diamonds Are Forever."

For its intention to promulgate the compatibility of Christianity with homosexuality, Save Me deserves a footnote in the political battle between these traditionally adversarial groups. As a movie, it doesn't amount to much more than an after school-special with sex and profanity.