Frequently slaughtered for consumption in Europe, their inhumane treatment as revealed here will surely prompt outrage among animal lovers as well as those concerned with health and environmental issues.

Unfortunately, the Collector simply isn't a very interesting screen villain. Clad in a black mask that reveals only his eyes and mouth, he mainly communicates by heavy breathing. It makes one yearn for the perversely witty chatter of Jigsaw.

Sadly, this film's POV conceit -- in which all scenes are shot by the characters, whether they have a plausible reason to hold the camera up or not -- quickly becomes as grating as Kelly herself.

Aggressively quirky but lacking any real wit - unless you consider a lengthy monologue about the taste of semen to be side-splittingly funny - the film based on David Gilbert's satirical novel is a non-starter.

The film never achieves any real depth in its unabashedly admiring portrait. What might have made a mildly interesting short feels vastly attenuated even with its brief 72-minute running time.

A very sympathetic turn by Colm Meaney both lends box-office appeal and helps Byrne pull back from the saccharine possibilities inherent in the premise.

If the dreary Mystical Laws was designed by its creating organization as some sort of recruitment tool, then they clearly have a lot to learn from the Scientologists.

The film's power steadily and relentlessly builds over its long course, to a point that is terrifically imposing and unshakable.

One of rock's underheralded pioneers gets his due in Beware of Mr. Baker, an affectionate but unfawning portrait that finds the drummer of Cream still keeping the beat despite hardships both institutional and self-inflicted (heavy on the latter).

Thorny, blood-boiling and finely made.

The minor-key film benefits from Robert Carlyle's soulful performance in the central role, bouncing back and forth between dulled resignation and self-destructive anger.

This is a good premise for a comedy, but somewhere along the way, it got diluted and turned into a sappy, feel-good story of family togetherness.

Few true-life stories are as inspiring as that of Darko Kralj, the subject of Dejan Acimovic's new documentary The King.

The only film ever to be released with the promise of a reward--$50,000 for information leading to the arrest and conviction of the bomber--Who Bombed Judi Bari? is an engrossing account of the case.

Ra'anan Alexandroricz's documentary uses a simple framework - a starkly photographed series of interviews with nine retired judges and lawyers instrumental in administering the often arbitrary laws - to deliver a provocative examination of the nature of justice.

The comedy of errors surrounding the 11 years (and counting) efforts to rebuild the devastated Ground Zero site would be funny if it weren't so tragic. Filmmaker Richard Hankin manages to encompass both aspects in 16 Acres, his strikingly coherent documentary chronicling the tortured process.

Few will be unmoved by this film's subjects, including the great niece of Herman Goering and the daughter of concentration camp commandant Amon Goeth, as they relate the heavy burdens stemming from their fateful lineage.

A meticulously reported chronicle of a case that shook New York in 1989 and remains a mark of shame on the city ten years after the convictions were vacated, the film incisively documents a travesty of justice that echoes the infamous Scottsboro Boys railroading of the 1930s.

This version is unlikely to strike a similar chord with young audiences while severely disappointing older fans of the original.

The characters and settings are attractively designed, and the vocal performances have real color and a sense of fun that gently undercuts the treacly sincerity of certain obligatory kid-pandering moments.

A must-see for fans of the cult musician and a moving, if sometimes oblique, look at gender-identity issues, it will find many admirers in niche bookings.

The final installment of the immortal Bella/Edward romance will give its breathlessly awaiting international audience just what it wants.

A prime example of the type of well-produced, smartly cast independent features that Sundance has been helping launch into the theatrical marketplace over the past few years.

This narrative directing debut by Sacha Gervasi remains absorbing and aptly droll despite a few dramatic ups and downs and, led by large performances by Anthony Hopkins and Helen Mirren.

A quiet, nearly plot-free drama enlivened by beautifully nuanced performances by its four-person leading ensemble, In Our Nature depicts familiar dysfunctional family dynamics with a welcome lack of melodrama.

Damning documentary pairs an individual sex-abuse case with analysis of institutional dysfunction at the Vatican.

A bankable cast, a hint of controversy and high production values may play in their favor commercially, but Bosch and her producer-husband Ilan Goldman have come dangerously close to making a feel-good movie about the Holocaust.

An interesting twist on a classic plot, Dangerous Liaisons is essentially a deluxe soap opera. But with its beautiful cast and gorgeous production design, it is still a highly enjoyable way to waste two hours.