The plot holds no surprises, but the eventual climactic foot chase and showdown suffice (if barely) to satisfy genre expectations.

It's a piece of unabashed myth-making from first-time writer-director Sunny Abberton, himself a member of the infamous surf tribe from the working-class beachside suburb of Maroubra, in Sydney.

With subtle laughs but solid emotional thrust, it will play very well with older audiences.

Has something a bit edgier in mind than the usual, soft-focused wedding bell high jinks. For the most part, that's exactly what it delivers -- an amusing, smartly cast romantic comedy told from a guy's perspective.

The story of a young hermaphrodite who's not sure if she's emotionally a boy or a girl manages to be both raw-edged and moving.

While the archival footage is fun, it's ultimately those bittersweet recollections of his equally energetic wife and adult children that give Surfwise its compelling edge.

U.S. viewers may be put off by its tangled sexual motifs and find its implied social critique a little close to the bone. But even Stateside, Julianne Moore, in her most challenging role in years, will win plaudits and attract mature audiences to a thoroughly absorbing and polished piece of work.

The comedy star's legions of fans will welcome the cheerfully crude proceedings as a return to silliness after several earnest, lower-key character turns. The melange of Middle East diplomacy, action absurdity, sexual healing and, when in doubt, hummus, wavers between muscular and middling. It's a surefire hit.

Retains considerable entertainment value on the strength of Herzog's never-dull, very personal narrating style.

It's with that action aspect that Pineapple Express differs from Apatow's previous production output, and though, the words "taut" and "pulse-pounding" would never apply, the giddily over-the-top fight sequences, choreographed by veteran stunt coordinator Gary Hymes, handily compensate for the lag time.

The film is an ambitious mix of slapstick, black comedy and stinging social commentary.

At times "Days" seems more of a social commentary on the shrinking middle class than the will-they-or-won't-they-make-it story at the heart of the film.

A Very British Gangster is not only Noonan's story but a profile of a community dealing with poverty and drugs, and seeing no way out. In a sense, Noonan and his cronies are born into a life of crime.

The most startling performance comes from Val Kilmer as Wade's hardened cellmate, a man who combines bitterness with wisdom.

Satisfying for devoted fans and might even win a convert or two.

Exotic and thoughtful.

A shapely sequel that retains much of the sparkle and warmth that made the original such a pleasant surprise.

Overcomes its essential familiarity thanks to a frequently witty script, grounded direction (by Peter Cattaneo, of "Full Monty" fame) and an engaging turn by its star that proves him more than capable of carrying a comedy feature.

Manages to stand on its own two skyscraper heels thanks to the comic force of nature that is Anna Faris.

The biggest hole in this picture is not so much whether an audience will buy its miracles but whether an audience will care about Henry Poole. Wilson hits the same notes in virtually every scene without any change to his physical rhythms or moods.

Kimberly's ground-zero home video of the storm is what really makes the film exceptional, although much of it is of such rough quality and execution that it struggles to hold up on the big screen.

Tsai, who co-wrote the script with Yu, pulls out all the stops with his C-dub role, brimming with witty send-ups of Chinese-American cultural values and Asian stereotypes.

Woodard conveys the rock-solid values of a true Christian without ever falling into sappiness. Bates is enjoyably larger-than-life, as the role requires.

Modest but moving, a finely observed portrait of a father/daughter relationship that will resonate deeply for many viewers.

While it makes no bones about where its sympathies lie, these fictional stories show a genuine fascination with the role politics plays on both sides of such confrontations and how things can spin out of control with no single person to blame.

Keira Knightley is a terrific choice to play the 18th century socialite.

In spite of a few missteps, the cumulative impact of the film is undeniable.

An affecting ensemble piece that's destined to generate a fair share of awards-season buzz.