Their heart is in the right place, and their tale is colorful, complete with Indian dancers in ceremonial costumes dancing on a street corner.

A slight story with little action, this rueful dissection of male bonding builds to an undeniably emotional last act.

Think of Please Give as a finely tuned short story with every glance and gesture full of suggestive meaning. Drama is not high on the agenda here. There is a bit of comedy and, briefly, sexual mischief even though it doesn't look like much fun.

A would-be provocative satire that too often settles for sitcom-grade silliness, The Infidel represents an opportunity wasted.

Running two hours, "Casino Jack" is an exhaustive and exhausting elaboration of Abramoff's canon of greed and power that will enervate audiences with a surfeit of details.

A lifeless period romance of the cutesy-cantankerous persuasion.

Very much bearing the creative imprint of Robert Rodriguez, but directed by Nimrod Antal, the new edition, in its best moments, is an unabashed B-movie that plays like a jacked-up "Twilight Zone" with award-winning actors delivering the pulp-infused dialogue.

The colors are mostly gray tones with the sharp, disturbing animation that works well for a thriller. However, Metropia is weighed down by a convoluted plot.

Holy Rollers squanders a fascinating premise with predictable execution.

If there's one defining characteristic among English criminals, it's that they apparently are a quirky lot. That, at least, is the conclusion one draws from the endless series of comically tinged British crime thrillers that have come down the pike during recent years, of which the mediocre Perrier's Bounty is the latest example.

This attractive cast may help get an audience, but they will surely puzzle over such a downward-spiraling story that lacks inner logic.

A backwoods psychological thriller delivered faux-documentary-style, with mixed results.

Despite the lazily self-satisfied results, his (Sandler) aging fan base likely will come along for the lackadaisical ride.

In the end, an audience has far too much knowledge about Gregoire's movie projects and finances and far too little about what makes anyone here tick.

Features a profusion of provocative ideas and a wealth of vintage film clips but is unable to avoid having the inevitable feel of a college thesis.

Narratively, Wild Grass is a fractured romance, that never jells on any level, except for the backdrop visuals. Visually scrumptious, as if culled from the pages of good-taste magazines, it has the appeal of a designer catalog, and also the depth.

Thanks to the great Helen Mirren as the wife and Spanish actor Sergio Peris-Mencheta as the boxer, the film does create a convincing portrait of a late-flourishing love that takes everyone by surprise.

While its cast delivers uniformly breezy performances, most everything else about Ramona's move to the multiplex feels unremarkable.

Spoken Word, which centers on the tense reunion between a recovering addict poet and his dying father, features more cliches than it can comfortably handle and is not helped by its grindingly slow pacing.

This isn't so much that the story and characters are weak -- though they very much are -- but that animatronics and computer animation so anthropomorphize these critters that they bear more resemblance to cartoons than actual flesh-and-fur animals.

Aside from the sweltering Egyptian climate, little heat or excitement is generated by the film or its attractive stars.

Reiner again demonstrates compassion and insight into young people's battles to acquire self-knowledge, but in his new film, too many clearly fictional characters and contrived situations bog down his story.

Anyone who has seen the original knows exactly where things are heading, with the result that the proceedings seem far more manipulative than unnerving.

This seventh installment does at least provide a reasonably satisfying conclusion to the series in the unlikely event they choose to give it a rest.

Although well-meaning in its attempt to dramatize the stigma the subject evokes in the South Asian American community, Hiding Divya ultimately falters in its execution.

A faux black-and-white silent film that will gain immeasurably from its road show presentations, Louis is more of a novelty than a satisfying cinematic experience.

The next time you're invited to a French dinner party, you might want to give it a pass, if the tedious proceedings in Change of Plans are any indication.

Nothing really adds up, and the ending is downright absurd. You would like even the most austere, doctrinaire existential movie to earn its downbeat ending. This one fails utterly to do so.