An audacious, highly contemporary psychological thriller, Sorry,Haters is the kind of audience provoker certain to elicit at least as many haters as admirers.

Brutal but believable, the film in some ways harks back to early Hollywood, when Jimmy Cagney or Richard Widmark played callow villains out of their depth in everyday life.

Strictly for the small-fry set, lacking the visual style, wit or imagination necessary to entice adult viewers.

Neither good nor so-bad-it's-good, Perry's odd oeuvre has an allure all its own.

There also are hints of Doug Liman and Tony Scott to be found in this hopped-up, bullet-riddled crime thriller, but while certain sequences pack an admitted visceral kick, the prevailing effect is one of utter overkill.

Confrontational, raw and always compelling, Little Fish is a film of rare power and conviction.

A worthy addition to the ever-growing canon of Holocaust-related films.

Feels padded in some places, truncated in others. It also feels too respectful, especially when its subject is such a deep thinker and questioner of authority.

Astonishingly powerful documentary about really, really hard work.

This crass drag of a dud at best manages to elicit just a couple of half-hearted chuckles over the course of its 80-minute allotment.

Disney may have written the book on live-action animal adventure stories, but it has been quite a while since there has been a chapter as terrific as Eight Below.

The film is, above all, a moving portrait of hurting souls, brought to life in compelling performances.

The film deliberately works against most cinematic expectations.

Everything today's young audiences are conditioned to want: incessant noise, jumpy editing, torrential music, shallow, overblown characters and sheer emptiness at its core. Imagine yourself trapped inside a two-hour video game, and you've got the Night Watch experience.

Rock solid performances by up-and-coming German actress Julia Jentsch as Sophie and Alexander Held ("Downfall") as Mohr along with an excellent cast of supporting players insure that no one mistakes this for a lifeless docu-drama.

With the exception of a few unpredictable moments from Zooey Deschanel and Will Ferrell, Winter Passing finds only cliche as it reaches for profundity.

The film is an atmospheric and complex thriller that, while not quite living up to its thematic ambitions, more than sustains interest along the way.

While the experience may have been highly rewarding for its participants, viewers may be less than enthralled.

Margret and H.A. Rey's mischievous monkey makes his long-threatened leap to the big screen in Curious George, with much of the books' charm respectfully intact.

The plot's pretty lame, the dialogue is downright hokey, and the characters are a bore, but somehow Final Destination 3 (an oxymoron if there ever was one) still delivers a certain degree of over-the-top amusement.

The amount of enjoyment one gets out of the Harrison Ford crime-action thriller Firewall depends on one's tolerance for watching thugs terrify an innocent family for most of the movie.

Even with the inspired choice of Steve Martin in the Clouseau role, this "Panther" picture is more bumbling and fumbling than the blissfully oblivious, accident-prone Inspector.

There's absolutely nothing fantastic or transporting about London, an endlessly ponderous relationship picture that also has zilch to do with the British city.

This smart, aesthetically understated concert film from Jonathan Demme will transport Young's legions of baby boomer fans back to the future, as 1969 re-invents itself in 2005 for Young.

A highly satisfying documentary tracking the hoop dreams of basketball bright light Sebastian Telfair as he made that rare leap from high school all-star to NBA draft pick.

The film is well worth seeing for its views of the parched wilderness of far-flung Brazil and its talkative depiction of an unlikely friendship.

While screenwriter Howard Himelstein and director Mike Barker have done a workable job of drawing the Wilde social satire out of the drawing room, the film never quite manages to travel at the same buoyant velocity as the acerbic wit.

Designed to capitalize on the title and premise of the original but offers little to those who fondly remember it.

A keenly observed urban romantic comedy.

Written by "Final Destination" screenwriter Jeffrey Reddick, the film has its dubious pleasures, not the least of which is the extended sight of nubile lead actress Jenna Dewan in a bustier, high heels and killer miniskirt.

Alternately tedious and bombastic, the film never achieves a consistent tone, and the characters and situations, while seemingly played on a realistic level, are neither remotely credible nor satisfyingly surreal.

The film doesn't quite manage to sustain interest for the duration of its 86-minute running time. But it does exert a certain voyeuristic fascination, thanks in no small part to the eccentricities of its central figure.

Telling an obviously lived-in tale, this small-scale indie drama suffers from a compendium of cliches.

While it does render scientific and philosophical principles in a highly accessible format, the film is nonetheless a real chore to sit through.

An embarrassment to all concerned, the film was written, directed and produced by Soderbergh for reasons that are not readily apparent.

Packing in enough cliches for a dozen movies, this drama about a sensitive young man trying to achieve his dreams via the U.S. Naval Academy in Annapolis will best be enjoyed by the generation unfamiliar with "An Officer and a Gentlemen," "Top Gun" and any preceding boxing movies.

If state-of-the-art cross-gender fat suits and drunken Chihuahuas were the stuff of comic genius, Big Momma's House 2 still wouldn't be very funny.

Colorful, noisy and brimming with special effects, the picture may please young audiences simply looking for loud action, but its corny storyline and brittle lack of warmth may discourage both parents and children.

Prolific Hong Kong lenser Johnnie To delivers another solid action picture with this latest effort, a cops and robbers yarn with social commentary mixed in along the way.

A pleasant if pedestrian British romantic comedy.

Stylish and well-observed while ultimately not adding up to very much.

Nothing von Trier presents here, whether real or imagined, is fresh or new.

Roving Mars is bound to inspire hordes of young science geeks to dream about sending in their resumes. The rest of us may not feel so excited.

Long deemed unfilmable, the 18th century novel finds the perfect interpreters in director Michael Winterbottom and actor Steve Coogan.

A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.

It might have been inspired by actual events, but End of the Spear is, literally and figuratively, simply too dull to make any impact.

Unfortunately, there's little wit or genuine suspense to elevate the proceedings above the level of a cheesy comic book.

A small-scale character piece that genuinely likes its protagonists: an overweight teen girl and an overage delivery guy. But for all its quirky touches, the comedy cleaves to formula in its depiction of how they challenge and change each other.

Stirring tale of a team whose big win speeds the integration of intercollegiate sports.

Queen Latifah finally gets a vehicle that gives her formidable talents and expansive spirit plenty of blooming room.

A feeble medieval epic with a lackluster romance at its center.

Deeply frustrating because of its brevity and its lack of solid information and historical context.

Arlyck's artful use of "then and now" images illustrates the relentlessness with which time moves forward. Youth is, indeed, elusive. His seductive film is a retrieval mission and, as such, it is ineffably sad.

Fateless is both haunting and poetic. It also is visually stunning.

Eli Roth turns to modern-day Asian fright filmmakers as inspiration for his latest blood-soaked effort while demonstrating an intriguing, original voice of his own.

The film doesn't have much in the way of genuine laughs despite a plethora of attempted gags, but it does have a geniality that makes it hard to entirely dislike.

Attention, Ben Kingsley (I mean, Sir Ben Kingsley): It's officially time to turn in your Oscar.

A surprisingly frank effort that demonstrates that the country's censors may be loosening their reins. This well-acted portrait of a young single mother displays a universality that should translate well to the art house circuit.

While it aspires to draw the same audiences who admired "Crouching Tiger, Hidden Dragon" and "Hero," The Promise is but a pale imitation of those landmark films.

Switching into a dramatic gear, Woody Allen surprises but often struggles in this dark morality tale.

A fascinating historical tale is rendered with less than compelling results in this pseudo-documentary.

An auspicious debut from first time Aussie writer/director Greg Mclean, film combines the style of cheesy horror films and the flair of classic thrillers.

A smart and sophisticated comedy romp.

Aniston gets marooned here: Her comic instincts are muted by all the identity angst, yet there isn't sufficient dramatic material into which she can sink her teeth. Costner strolls through this role with disarming ease.

This is resolutely a film of the imagination. As with all films in Malick's slim body of work, its imagery, haunting sounds and pastoral mood trump narrative.

The Matador gets a 151-proof tequila shot of sharp comedy from the droll byplay between Pierce Brosnan and Greg Kinnear.

A mesmerizing, richly nuanced inquiry into Israel's revenge of the Munich massacre of its athletes.

Haneke echoes the theme of Hitchcock's "Rear Window": Moviemaking is basically an act of voyeurism. We secretly examine people's lives in every movie. But in this one, there is a hidden camera, a movie within the movie as it were, forcing us to observe a character along side a mysterious stranger.

This wannabe daring comedy about a man who attempts to "fix" the Special Olympics strains for that patented naughty and nice balance with squirmingly squishy results.

Surrealism is one thing, but The Intruder appears so ill defined and random that it ends up looking simply inept.

A textbook example of how not to mess with success, Cheaper by the Dozen 2 is every bit as forced, synthetic, banal and mawkish as the first edition.

While the 1977 Fun With Dick and Jane was a reasonably diverting sendup of conspicuous consumption with a subversive if not always razor-sharp comic edge, the new version... replaces smart performances with tired shtick.

The director has staged the elaborate production in his usual stately but impressive manner, and the production values boast the usual Merchant/Ivory stamp of quality.

Spends too much time on unconvincing romantic-comedy contrivances to be consistently engaging. Throughout the uneven film and its mixed bag of performances, the compelling point of focus is Diane Keaton's smart, funny, spot-on natural portrait of the formidable Stone matriarch.

Jones displays a firm hand at the helm -- you sense that he is well within his comfort zone in this environment -- and performances including his own are lively and convincing.

With her debut, Xiao Jiang has created the Chinese equivalent of "Cinema Paradiso." The Beijing Film Academy graduate's confident first feature is a lovely, elegant paean to the joy and liberty that films offer as a symbol.

The best two performances belong to Uma Thurman and Will Ferrell. For the film to work, though, the two best roles should belong to Tony-winning Nathan Lane and Matthew Broderick in the title roles.

Hoodwinked occupies some considerably shaky turf situated uncomfortably between "Shrek" and dreck.

Ice-bound black comedy boasts strong cast for an indie but can't quite decide what it wants to be.

An oddity as awkward as its title, Angels With Angles is writer-director-star Scott Edmund Lane's would-be valentine to old-school showbiz comics, wrapped in a silly adventure-romance involving Cuban cigars and, yes, Fidel Castro.

The gorilla is great, the girl terrific, sets are out of this world, creatures icky as hell, and the director clearly does not believe in the word "enough."

Beautifully acted and filmed, with the Internet imagery rendered in Pixelvision.

Its observations seem more suited to the op-ed pages of a magazine than the big screen.

Anne Proulx's 1997 short story in the New Yorker has been masterfully expanded by screenwriters Larry McMurtry and Diana Ossana to provide director Lee with his best movie since "Sense and Sensibility" in 1995.

Here is a film about Japan made by Americans, shot mostly in the U.S. and, of course, in English. Once you accept these compromises in the name of international filmmaking, none is a real deterrent to enjoying this lush period film.

An absolute delight from start to finish.

What is lightly sketched in the novel, where much is left to the imagination, blossoms into full-blown, richly detailed life in the movie.

A disturbing supernatural drama that leaves a sour taste in the mouth.

Hopkins' performance flat-out works.

Smultaneously silly, ostentatious and terribly boring.

Impressively realized on all levels, this transgender spin on the road trip boasts an extraordinary central performance.

Snowboarders are given their Dew in this nicely shot but lengthy exercise in corporate branding.

An achingly eloquent rumination.

Rather than connecting all the chronological dots, Brown has fashioned Van Zandt's balm-to-the-brokenhearted legacy into potent cinematic poetry.

The docu is not visually innovative, but the content more than makes up for what it lacks in style.

This is a performance without the histrionics and emotional outbursts that accompany most portrayals of addiction. This feels closer to the truth.

The details are what matters, and thanks to a cast of all-star British elders and a mischievous sense of humor, the filmmakers bring those details to vivid life.

A little more "Grifters" would have gone far here. Not toward making the film palatable for the mainstream, perhaps, but at least toward selling its neo-noir story to an audience already inclined toward such seedy material.