Love Crime has Hitchcockian pretentious, with perhaps a touch of film noir, but the "love" component is perfunctorily done and the "crime" pay-off is unconvincing (despite the twist in the tail). The Master would not have allowed the suspense to dissipate so wantonly.

Not only is this film's form clichéd, so is its content.

This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.

In Bodyguard, Khan seems to have a tongue-in-cheek awareness of his major strengths - able comic timing and a cartoonishly muscular physique - and in case that's not obvious enough, he flexes his biceps to the beat in the film's opening song and literally winks at the camera.

Proves too anticlimactic for the audience to maintain interest.

Although it lacks the historical aura of classic Chinese wuxia backdrops, James Chiu's post-"Avatar" production design is memorably imaginative.

A so-called black comedy that is more sort of dull, spotty and yucky.

It's a long movie that feels short: It grabs you in early scenes, intense though low-key before all hell breaks loose, then keeps you riveted to its mostly male characters.

Duvall can play an avuncular cowboy sage in his sleep, but there's truly no one on Earth you'd rather see dishing out homespun aphorisms, so it's pointless to resist the pleasure of watching him do what he can do better than anyone else. Baker and Melissa Leo, as the waitress' mom, are not asked to exhibit a fraction of their talent, but they further class the joint up.

The movie is too much an act of hero-worship for there to be any critical distance.

Fails both as historical re-enactment and as action-flick thrill ride.

Will undoubtedly mean a great deal to Romanians who struggled during this dark period, but not much to anyone else.

With neither great insight nor any sign of wit, the film is not likely to capture interest outside France.

In a sense, this is not a financial thriller so much as a financial mystery. Which gets a bit lost in the movie's stylized presentation.

Earns its R but may leave audiences wanting more.

Ripples with the emotions and the saddened circumstances of those gallant and talented folks who sing the blues.

The film is a deft, graceful and often poignant story of a woman's quest to find her own identity and a spiritual sanctuary that will give her life hope and meaning.

Rowan Joffe's film of Graham Greene's 1938 novel "Brighton Rock" takes a gothic approach to the story of a young thug obsessed with hell with little of the writer's subtlety and too much reliance on a loud quasi-religious choral score.

There are guilty pleasures to be had in this frenzied B starring Zoe Saldana (Avatar, Star Trek), who gives an acrobatic performance that makes the overcooked material watchable, if not entirely enjoyable.

Arriving eight years after the lame third installment in Dimension's profitable series, this seems like far too little way too late.

A steady supply of spiky humor and a game cast keep this cooking most of the way, though the pacing could have been tighter and the film seems as if it's about to end two or three times before it actually does.

A handsome and achingly sad period piece, a finely observed portrait of cast-aside dreams. The drama is quieter and more chaste than the similarly themed "Camille Claudel," but no less haunting.

Although the conceit of an ever-so-erudite child palling around with an exceedingly wise concierge might be workable in a novel, cinema tends to realism, and Achache is too much of a novice to bring it off. The cuteness grates, and the setups and philosophizing are generally unconvincing.

Danish director Lone Scherfig skillfully adapts David Nicholls' best-selling romantic novel to the screen.

There is no purpose to the film other than random blood splattering amid scenes of bondage, primitive savagery and S&M eroticism. The film is numbing and dumb with its hero indistinguishable from its villains.

At once impressionistic and precise,The Tiniest Place (El Lugar más pequeño) is a beautifully rendered memory piece that insists on the necessity of memory.

Jeon is played to perfection by the director himself. The spare script effectively funnels audience attention into him, who is never less than engaging.

Australia makes a modest contribution to the growing sub-genre of everyman superhero movies with Griff the Invisible, a sweet but scattershot debut from local TV actor Leon Ford.