The most affecting scenes, however, involve the class of Israeli teenagers visiting Auschwitz.

The film is impeccable but distant, lacking in spontaneity and not very original.

Tales of cynical curmudgeons rediscovering their humanity have long been a cinematic staple, but Wonderful World brings a refreshing lack of sentimentality to its take.

Dwayne Johnson's energetic performance enlivens an otherwise by-the-numbers family comedy.

The filmmaker presents a portrait of the emotional and physical effects of aging and maturity that is occasionally poignant but not particularly deep.

Veers wildly from slapstick comedy to melodrama, but writer-director Rahul Bose, making his feature debut, handles the transitions more effectively than is usual, and the film is generally entertaining even when it's being utterly ridiculous (or maybe especially when it's so).

Style takes precedence over content in this fourth installment of Strand Releasing's popular series of gay-themed short-film compilations.

Will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular.

The technique adds little in the way of illumination and a lot in terms of inducing a migraine.

Enough goodwill has been built up in the early sections that most viewers will not take offense when the movie abandons its plot and characters.

Predictable, cutesy and surprisingly short on genuine humor, Legally Blonde gets by thanks to the magnetic presence of Witherspoon.

Has some moments of excitement and is certainly uncompromising.

The episodes are uninteresting and the characters one-dimensional. Unlike the multicharacter tapestries of such filmmakers as Robert Altman and Paul Thomas Anderson, the pretentious whole here is ultimately less than the sum of the parts.

This murky, thriller-tinged Western has the terrain down cold -- from the wide-open spaces to the rocky vistas -- but beneath all the requisite genre trappings there's a vast, empty gulch where the affecting dramatic element should have been found.

Although it offers no new angles on the story engines of loyalty and revenge, the French film boasts an intriguing milieu and the off-center, hair-trigger intensity of Samy Naceri as a crime boss.

The surprising lack of humor in So Close, and long, trying stretches between combat sequences aren't likely to attract new converts to the genre.

Works better than one might think, thanks to the group's modus operandi, which combines a fundamental reverence for the target material and a sly irreverence that's key to their skewering technique.

Cross "Body Heat" with "No Way Out" and you wind up with Out of Time, a slick crime melodrama with more style than substance.

A dramatic thriller with a large cast playing the hell out of some very juicy roles. Nieman's script shuffles nimbly among an array of colorful characters and offers unexpected twists that keep you off-balance.

Writer-director Larry Blamire has clearly done his homework, and his playful cast nails the requisite acting-so-bad-it's-good pitch.

An eye-opening sociological examination that is alternately moving and tedious.

Lacks the urgency and significance of a great docu but still offers a diverting entertainment.

The 3-D footage of Titanic does speak volumes, and sometimes the sheer fussiness of all the ghosts and archival images get in the way. As huge as the Imax screen is, when six different images vie for one's attention, it looks cluttered.

Achieves a rare depth and intimacy in its portrait of dreams fulfilled and shattered.

It contains terrific sequences, and Nicholson and Sandler team up better than one might expect. But the film plays like two characters in search of a story and runs a good 15 minutes too long.

Chases romance and comedy across Europe for nearly two hours without ever quite catching either. Essentially a teenage rendition of William Wyler's immortal "Roman Holiday."

This particular reconceptualization actually does an impressive job of capturing the nasty dread of the original. It certainly is a vast improvement over those previous remakes/sequels.

The movie telegraphs its intentions too early and relies too much on a single actor, Johnny Depp, to achieve its emotional force.