Until the lean script by Baier and Laurent Guido takes some unconvincing turns in the late going, the film is a credible portrait of alienation.

Despite the updated setting and some on-the-money performances, the sleek if dramatically flimsy results make for a less than great "Gatsby."

This misbegotten horror film deserved to go direct to video. Or cable. Or oblivion.

The story presents a moral morass involving betrayal, illicit sex, hypocrisy and a crime, yet the film feels tidy. Only one punch gets thrown, and you sense the perpetrator regrets his action immediately. It is all very British.

A tender and moving drama that deserves wider exposure.

Repellant to look at and fairly inscrutable, the film does at least offer vivid if at times overly broad performances from the three leads.

A promotional video masquerading as a documentary.

Crudely shot and edited, the film is most notable for the strong performances by its two leads.

The result is a powerful, if one-sided, attack on the GM food industry. The film should appeal to audiences with an interest in healthy living.

It's a typically poetic film, rich in powerful imagery, which sees a bitter personal tragedy unfold against the major events of 20th century Greece. Although the director doesn't mine any new ground here, either in terms of style or content, it's still a pleasure to sit through nearly three hours of perfectly controlled, visually evocative filmmaking.

A visually arresting cinematic essay that, unfortunately, makes its points long before its conclusion.

The film is narrated by Kathleen Turner in her inimitable husky style, with the actress receiving a final credit as one of the volunteers at ground zero.

Who knew Samuel L. Jackson and Eugene Levy would make such a dynamic comic duo?

The film never realizes its dramatic potential, choosing to take predictable story paths with obvious characters.

Derrickson's characters are reduced to ciphers in a theological debate. Long wedges of the film are simply a discussion about the relative merits of science and superstition. Carpenter, as the sick girl, puts in the best performance.

Unfortunately, the screenplay contains little real wit, with the result that the various plot machinations have a strained quality that tends to reduce the proceedings of their intended giddiness. On the other hand, the performers are attractive; there's plenty of nudity; the setting is scenic, and the musical numbers -- well, they're pretty bad.

A spare, claustrophobic film.

There's some nice low-key work amid the uneven performances, but the Montana-shot film's key strength is its sense of place.

An affecting portrait of a young widow and her two teenage daughters.

Viewers hoping to understand the senseless phenomenon of football hooliganism would do better to rent Alan Clarke's nearly 20-year-old "The Firm."

It's the kind of rollicking rebel-chick flick that should score well in venues that appreciate Quentin Tarantino films.

Well-meaning and enlightening documentary.

A dreary indie ensemble drama about six thirtysomethings coping with the emotional aftermath of their friend's suicide, the ultra-talky and static Walking on the Sky would barely pass muster as an Off-Off-Broadway offering.

Highly informative and likely to increase enrollment at film schools.

Touch the Sound is at least as inspiring and in some ways more rewarding, thought-provoking and subtly visceral.

Transporter 2 really does deliver the goods.

A gloriously lead-footed excursion into time travel with all the accoutrements of 1950s science fiction: an absurd plot, cliched characters, corny effects and a race against time to save mankind.

Nick Cannon, playing an L.A. cop who goes undercover as a prep school student, provides the few sparks this wan action-comedy can muster.

His (Fernando Meirelles) impressionistic, guerilla style of filmmaking works surprisingly well in capturing the hypnotic urgency of le Carre's fiction. And his viewpoint is less British and more Third World.

It is a provocative and potentially rich premise, to be sure, but the execution here is somewhat lacking.

The result isn't particularly mesmerizing, but it does offer a well-rounded portrait that will be of particular interest to photography lovers.

Hugely ambitious but often failing to live up to those ambitions, Terry Gilliam's long-awaited The Brothers Grimm emerges as a folkloric adventure that intermittently entertains.

A bottomless pit of lame characters, horror-film cliches and improbable monsters.

An entirely dispensable, soapy caricature of a love story that comes complete with a jukebox full of music industry cliches plus Ashlee Simpson's big feature film debut.

A wheel-spinner. The more the film stresses and strains to be funny, the unfunnier it gets.

Dirty Deeds is as feeble as a teen comedy can get.

Bram Stoker would be, well, horrified.

A giddy romp that never takes itself seriously in the slightest, and that makes Taipei look like the center of the gay universe.

Although comparisons to the memory-challenged machinations of "Memento" are inevitable, the plotting here takes a more traditionally linear path.

While all this might have made for a potent short subject, the abstract visual monotony begins to wear thin shortly into the 98-minute running time.

A Spanish-language black comedy with a frenetic style that plays out like regurgitated Tarantino and Guy Ritchie.

Sticking to one joke in an unconscionably long film makes for a very stale, witless and repetitive comedy.

Red Eye has a devilish charm. It pulls just about every nail-biting, edge-of-your-seat trick imaginable, yet gets away with it through what is, admittedly, a clever and original gimmick.

A plucky little bird that just won't fly.

A love story that veers uneasily between mysticism and melodrama.

This ultra-violent revenge thriller is far more notable for its baroque excesses than coherence or credibility.

This Divided State will become yet one more largely forgotten cinematic footnote to an election notable for its divisiveness.

Its release calculated to coincide with the X Games, Supercross: The Movie is advertainment to the extreme.

It's an engrossing and often very funny tale.

There is no denying the emotional impact of the story, which is powerfully conveyed in this important, deeply moving documentary.

An elegantly mounted ghost story that's steeped plenty of dank Louisiana atmosphere.

Every bit as vulgar, sophomoric and thoroughly tasteless as 1999's Deuce Bigalow: Male Gigolo. But what is most annoying is the sequel's capability of inducing laughter even as one hates oneself for so easily succumbing to the total silliness of it all.

If you take any of this seriously, you are not going to enjoy the movie very much. But as an absurd riff on baadasssss gangsta movies, Four Brothers has an undeniable visceral kick.

The film brings a spectacular but little-known chapter of World War II to the big screen with meticulous attention to period detail -- and almost none to compelling narrative.

A psychological thriller without bothering much with psychology. Come to think of it, the thrills are pretty much missing, as well.

Amateurishly shot, written and acted, the film lacks any redeeming values to compensate for its horrific aesthetic.

Has a demented sense of humor, and the cleverness of its taut narrative structure and misanthropic characterizations constantly surprises a viewer. The movie does what you wish more first-time features would do: tell a story economically with first-rate actors and no hint of self-consciousness.

Complex but cold tale.

Certainly should appeal to viewers with an interest in current affairs.

A bigger-louder-dumber take on that good ol' CBS hillbilly hit, the movie version of "The Dukes of Hazzard" starts off on the wrong foot and keeps heading, appropriately, south.

It skips merrily along the surface with its over-the-top vignettes but never seems to arrive at a destination. Nevertheless, the journey is more than half the fun as every actor attacks his role with relish.

Even the art house crowd will find the film off-putting not only because of its vagueness but because of its thoroughly unlikable characters.

Indeed a wary viewer must get past the film's infatuation with celebrity culture to enjoy this movie's charms. But charms it has.

A tart and tender comedy that pulls off a little miracle of its own by being genuinely heartwarming without leaving any cloyingly sticky emotional residue.

Jakubowicz's direction is assured except in the film's final moments, when he makes a clumsy attempt at sociopolitical philosophy that is delivered by an omniscient narrator. It's an indulgence that threatens to undercut the ferocity that precedes it.

A newcomer to film, Michaletos grew up on a farm with cheetahs, so he can act natural around the animals while making this Huck Finn-like character more than credible.

Not merely a sitcom of cultural clash. Screenwriter Angus Maclachlan has delicately etched a compelling portrait of a way of life whose decencies and simplicities are often dismissed as being "unsophisticated."

An uncompromising portrait of how global capitalism can exploit an area's resources to the point of near annihilation.

A thoroughly conventional romantic comedy with all the usual trimmings.

A likable mix of laughs and wacky action sequences.

Hollywood's latest virtual movie, features impressive action sequences -- all created through technology -- a thin story, cardboard characters and snicker-inducing dialogue.

Obscene, disgusting, vulgar and vile, The Aristocrats might be the funniest movie you'll ever see.

It's unfortunate that a film designed to renew interest in Ulmer is this flat.

Fails to overcome its hokey script and cliched characterizations.

Superbly conveys its themes of despair and lost opportunities.

Fails to overcome its recycled elements but displays a winning spirit that's hard to dislike.

It plays like "Bonnie & Clyde" as made by a committee comprised of George Romero, Sam Peckinpah, Tobe Hooper, Sergio Leone and John Waters -- but Zombie still manages to inject a pervasive flavor all his own.

Starts off an aggressively derivative sci-fi thriller, then morphs into an above-average chase melodrama.

Many moments of laugh-out-loud comedy. But somehow those moments never add up to a fully satisfying viewing experience.

An examination of a sexual relationship that's about as viscerally explicit as hardcore can get...But as satisfying viewing experiences go, the film comes up mighty short in terms of story, interesting characters and technical prowess.

That rare beast, a terrific movie that boasts intelligent wit, expert storytelling, delightful characters and grown-up dialogue plus suspense and a wicked surprise ending.

Yet music, the one thing that might have given the film some kick, is de-emphasized, with only two songs sneaking into the picture.

Benjamin Brand's script never levels with a viewer.

An embarrassingly meager comedy.

Doesn't quite manage to elevate its subject to a sufficiently interesting level for anyone who isn't already one of its frequent visitors. A good stroll inside your nearest city park would provide a more edifying experience.

Here's a film about kids and for kids that has not lost touch with what it is like to actually be a kid.

The two key roles are wonderfully cast with Owen Wilson and Vince Vaughn and the gross-but-not-too-gross humor will score with young moviegoers. But Wedding Crashers is still a letdown. The film never quite lives up to the promise of its premise.

A real audience pleaser, so long as that audience is mentally agile and adult, for it comes at you from odd angles and features three distinct story lines and 10 main characters.

Although The Reception boasts some moments of emotional truth, its small scale and claustrophobic atmosphere make it a tough sit despite its brief time.

The plot is simple to the point of being simplistic, and the characterizations are never more than rudimentary.

A compelling albeit highly discouraging portrait.

Ultimately fails to illuminate its subject, though it does offer some evocative moments and terrific music along the way.

With his stirring visual sense very much intact here, Salles sets the creepy mood eloquently, but the picture -- ultimately fails to reward all the little shivers with any satisfying jolts.

A colossal snore.

The film achieves its power through a careful gathering of crucial details, in wordless glances, cruelties of nature and of man and the relentless determination to gain the promised land.

If ultimately the highly talky Saraband comes across as a minor entry in the canon, it nonetheless marks a dignified farewell for one of cinema's greatest directors.

A crackling good suspense thriller.

Predictable yet passably entertaining.