Like its characters, Good Guy is sharp, fun and pleasant to behold, and its recreational, apartment and workplace locales are appropriately slick and showy.

Giamatti is aptly cast, playing his own persona with awkward anxiety and suitably skewed humor.

Will mesmerize some and mystify others, while many will be bored silly. It's not a dream, Kaufman says, but it has a dreamlike quality, and those won over by its otherworldly jigsaw puzzle of duplicated characters, multiple environments and shifting time frames will dissect it endlessly.

Furhman plays pure evil with such supreme calmness that only her eyes shine with madness. Indeed, all of the child actors are superb, especially the expressive Engineer.

A prelude that provides the beams and columns for the narrative framework, but with a few decisive and spot-on action spectacles, it sufficiently kindles expectations for the climactic clash in Part 2.

To the unlikely role of a Bogart-esque reluctant hero, Leonardo DiCaprio brings an intensity that compels even when the script falters.

A fascinating mix of high-minded gossip and historical perspective, examines the clash of values -- of ritual and traditions versus media savvy and political ambition -- that leads to a crisis for the British monarchy.

Some of the patter is funny, but the movie lacks the clever plot developments and the character nuances of a classic like "American Graffiti." And it's missing the belly laughs of earlier raunchfests "American Pie" and "There's Something About Mary."

Stunning production quality and the story's extremity should arouse interest beyond the specialty Asian market.

Bolstered by a career-best performance from Mickey Rourke and outstanding work by Marisa Tomei and Evan Rachel Wood.

Joel and Ethan Coen clearly are in a prankish mood, knocking out a minor piece of silliness with all the trappings of an A-list studio movie.

Long regarded as unfilmable, Patrick Suskind's 1985 novel "Perfume" has finally reached the screen in a blockbuster production that succeeds reasonably well in achieving what many said was beyond the scope of cinema: conveying the world of scent and smell.

Rudd and Scott hail from different universes of movie comedy, but manage together here just fine, particularly since each takes a different path.

If you're going to make a weepy, there's no reason you can't make it with intelligence and insight as the makers of My Sister's Keeper have done.

Leave it to Liev: Schreiber capably adds writer-director to his impressive resume with this winning take on the Jonathan Safran Foer novel.

If this earnest, two-part biopic with a total running time of 268 minutes sometimes lacks cinematic flair, the straight-ahead, chronologically-driven film will inform and, to a somewhat lesser extent, excite viewers everywhere.

In epic battle scenes where he combines breathtaking and fluid choreography, gorgeous 3-D drawings and hundreds of visual effects, director Zack Snyder puts onscreen the seemingly impossible heroism and gore of which Homer sang in "The Iliad."

Viewers expecting a thrill ride might be disappointed. V engages in a couple of satisfying crime-fighting set pieces, but the story is more occupied with mystery and intrigue. Happily, it almost is entirely free of the hollow pomposity that marred the Wachowskis' last two "Matrix" films.

Amy Adams and Emily Blunt are two highly attractive, naturally funny actresses on the cusp of stardom so their pairing here as two lost souls is genius.

Spectacle, a love triangle, heritage settings, bravura acting, witty dialogue, a bittersweet finale: There's something for everyone in Anne Fontaine's Coco Before Chanel.

Bong has pulled together a multilayered horror-drama that works more often than not. The film gets back on track after a clumsy middle section that's too long and finishes strong, and Bong fans, horror fans and Asiaphiles are likely to be thoroughly satisfied.

This topsy-turvy funeral produces a number of smiles, giggles, pleasant guffaws and several solid, sustained laughs. Not a bad batting average as comedies go.

Director Renny Harlin's take on Agatha Christie's versatile "Ten Little Indians" is total B-movie swagger in all its unsubtle glory.

Like an Elvis Presley musical from the '60s, filled with shiny bright colors, bouncy music and happy, smiling, pretty people.

An appealing lead performance from its leading man and a wonderfully sentimental, if overly familiar, story line are the chief virtues of this French drama, a huge success in its native country.

Mainly notable for its exoticism and gorgeous scenery.

The 1976 John Carpenter original has been reworked enough to give the urban thriller a distinct flavor of its own, and stars Ethan Hawke and Laurence Fishburne provide enough gravitas to keep things involving.

The film takes a whimsical view of this insular and sometimes daft environment where everyone's eccentricities are given an opportunity to shine.

The film fittingly embraces the elements of camp and kitsch that played such a major role in defining the Nomi persona.

The kind of inspirational movie that actually earns its crowd-rousing response as opposed to merely pushing the same old, emotion-coaxing buttons.

Provocative and perceptive.

It's a charming-looking, tenderly told story about friendship and diversity.

A quietly celebratory film about music and human kindness.

Be Cool is not really cool as "Get Shorty" was, but it's entertaining, a frivolous cocktail rather than a vintage wine.

A lack of artful filmmaking doesn't detract from the dramatic impact of this fly-on-the-wall, cinema verite documentary.

If Hostage looks a lot like a state-of-the-art French "policier" minus the pesky subtitles, the effect is purely intentional.

The Disney picture should handily score a direct hit to its targeted young female demographic as well as striking a chord with their big sisters, moms and aunts.

While nearly every shock comes at predictable moments, there is genuine ingenuity behind many, and the movie is surprisingly fresh for one made by a guy on his third go-round with the same material.

Packs plenty of crowd-pleasing appeal.

An insightful and affectionate glimpse into the behind-the-scenes struggles of modern-day winemaking.

Highly entertaining and frequently fascinating.

Grungy and uneven, but it has a rollicking pace and clearly intends to be good fun so that audiences may overlook its unsteady rhythms, pretensions and inconsistencies and take it for the fast and very furious ride it wants to be.

Ultimately goes the distance, it gets the job done with a halfhearted bunt rather than a solid line drive.

Possesses a lighthearted quality that makes it rather enjoyable.

Very entertainingly takes us into the world of stuntwomen.

A smooth blend of visual special effects, exceptional stunts, fluid photography, sharp design and a possible best-selling soundtrack.

It is to Dance's considerable credit that he never lets the filmmaking overtake the understated storytelling.

Laughs-wise, it lacks the raucous edge of an "Old School" or "Anchorman" or the retro charm of an "Elf," but there's still plenty of Will-power to fuel this likable underdog trifle. It certainly is more enjoyable than a lot of what passes for family entertainment these days.

An action picture with the emotional simplicity of a bedtime story, painted in the grimy colors of the London underworld.

This agreeable remake still manages to go the distance.

A thought-provoking and involving film.

Browne keeps it amusingly involving.

Despite a few design flaws, "Pants" should wear well with its young female demo.

Adapting the novel by Zhivko Chingo, director Trajkov and his co-scripter, Vladimir Blazevski, have created a searing memory piece. Suki Medencevic's widescreen cinematography illuminates a shadow realm halfway between heaven and hell.

An engaging portrait of a functionally dysfunctional family.

Beat has a moody, furtive quality that jibes perfectly with the perplexed life of a pianist-gangster.

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 compelling albeit highly discouraging portrait.

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.

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.

A thoroughly conventional romantic comedy with all the usual trimmings.

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

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.

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.

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

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.

It's an engrossing and often very funny tale.

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

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

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

A spare, claustrophobic film.

Gwyneth Paltrow is triumphant in this somewhat derivative and overly stage-bound film.

Well-meaning and enlightening documentary.

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.

Crossing the life-death divide, Reese Witherspoon and Mark Ruffalo are a winning pair in this smart and tender comedy.

Thumbsucker is a head-scratcher. It's well directed and acted. Yet the story has little emotional pull.

Avoids easy shtick and saccharine conclusions, opting instead for character dynamics that the two leads deliver with consummate skill.

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.

Actor-turned-helmer Bill Paxton has fashioned solid family entertainment in this well-cast feature.

An appealingly low-rent, if not earth-shattering, 26th century "Star Wars" with faint glimmers of "Blade Runner," "Buckaroo Banzai" and "The Manchurian Candidate" for good measure.

A spirited comic drama, toplined by Moore's lovely performance.

Moviegoers who know their American political history will respond to the film's immediacy and forgive the film's tight focus and narrow view. Anyone hoping for an entertaining drama about newsmen and politics along the lines of "All the President's Men" will be disappointed.

Director Curtis Hanson has made a chick flick with substance as well as style.

This well-made World War II film from Germany is both a coming-of-age story and a critique of National Socialist ideology.

An inspirational film for cinephiles everywhere.

Thought-provoking story of how terror and paranoia affect two Americans who love their country.

The issue of sexual politics so dominates the story that it's a relief when an emotional showdown involves family rather than workplace issues. Not so surprisingly, these are the movie's best scenes.

Ultimately has few original aspects, but it is an intelligently wrought drama that makes it a respectable entry in the genre.

Displaying some fine performances -- including a lovely one by Claire Danes and a lively one by Jason Schwartzman -- the elegantly appointed Shopgirl certainly has the goods but it ultimately fails to make the sale.

In the charming comedy-parable Ushpizin, religious orthodoxy inspires not unbending dogma but humble, sometimes baffled spiritual striving by its embraceable, flawed characters.

Downey and Monaghan are wonderful at playing characters that compensate for the harshness of their past with flippant swaggers.

The admirably tasteful result is a social study far more suited for the likes of Oprah Winfrey than Jerry Springer.

Puts a human face on the failings of the American judicial system and the growing importance of DNA in legal proceedings.

Sustains a pervasive feeling of anxiety and suspense, despite an absence of dramatic conflict or resolution.

Protocols of Zion is often funny, revealing the idiocy of hatemongers through their own harebrained explanations.

Turning "Zorro" into a family movie with domestic squabbles and sitcom situations takes some of the luster off the romantic adventure of Old California.