A slick and entertaining package.

It all feels like a performance for the camera: von Trier as madman producer taunting the elder filmmaker.

Once we realize just how deeply hateful these two are, Samuell's free-spirited, romping visuals start to feel imposed on the film as a shameless "me too" ripoff of another, better movie.

Control Room is even more effective in showing the dilemma of the people who make up Al-Jazeera. In a sense, these are "our" Arabs, in that they're Western-educated, conduct their business in English and seem to believe in the basic American principles.

The real humor comes, once again from Murphy, whose Donkey is so genuinely funny and clever that he very nearly steals the film. Except that it's stolen by Banderas as a rogue Puss In Boots.

Full of sharp ideas and wry moments awaiting the inspired ingenuity of a screwball comedy to pull it all together. It never comes.

An exhilarating piece of epic filmmaking that it pulls you in, sweeps you up and works very much as its own thing.

Many will be left scratching their heads at the point of the entire enterprise, but fans of Jarmusch's askew view will clink coffee mugs and toast to the glories of human eccentricity.

The plot contrivances in which the story is ultimately sewn include the death of a father, an unexpected pregnancy, the sale of a house and the rest of the rigmarole that bad writers are prone to drag in at the last moment. It's too bad, because these characters deserved a better story.

Ostensibly a love story, the film is also handicapped by Téchiné's strong gay sensibility and clear lack of romantic interest in his characters.

The film is uniformly well cast, directed (by Alejandro Agresti, who also plays Valentin's father) with a certain flair and a good eye for the nuances of Buenos Aires. I found it light, agreeably short (86 minutes) and mostly quite enjoyable.

Fun-enough teenage adventure suitable for the whole family.

A monstrous disappointment.

Its sex is brutal, its depiction of human nature is crude and pessimistic, and its climax -- which involves animal mutilation -- is enough to ruin your whole week.

The new black-and-white print is gorgeous, the film plays well in this broader key and it sets the historical record straight.

The strength of Super Size Me lies primarily in Spurlock's character -- he comes across as an affable guy with a goofy sense of humor.

Stiller and Black have the chemistry of fingernails-on-blackboard and the movie is disastrously unfunny.

To its credit, the film has an engagingly bleak and minimalist look, and a brisk pace. But the chills are few. Every step seems contrived, predictable or unintentionally funny.

Within the limitations of the script, both stars shine. Moore displays a wonderful flair for self-deprecating farce, and Brosnan is cumulatively endearing as her unflappable nemesis.

The film can't decide between black comedy and bubblegum comedy, so it shoots aimlessly in between.

There's much to admire in this ambitious indie: top-notch production values, a gallery of evocative period detail (with location work on Scotland's famed St. Andrews' course) and solid performances from a cast .

The earthy imagery is delicate while the drama is oddly elliptical, creating a lovely film of storybook images and parables. It's both obvious and elusive and, historical specifics aside, almost timeless.

So stuffed with Maddin-ess that it never manages to get past the glorious surfaces. McKinney strides through his role with a knowing wink, and the sheer volume of creative imagery is as distracting as it is entertaining.

Garner's vulnerable, winning performance strikes emotional chords (not to mention nostalgia) in this fantasy comedy.

It's resolutely grim and rather predictable but very compelling, and it offers a commanding star vehicle for Denzel Washington.

Visnjic is charismatic, sympathetic and believable in the role, and the first part of the film -- in which he's being drawn into the case against his will and then use his hypnotic skills to get inside the mind of the little girl -- is quite riveting.

A rousing celebration of a genuine people's hero and a timely reminder that a free press is the greatest weapon in the arsenal of democracy and freedom.

A jargon-filled documentary less interested in culture and history than mechanics, machinery and the rush of speed.