Aarakshan is heavy on speeches, but the film manages to work because director Prakash Jha has cast it wisely, and has clearly put time and care into exploring the nuances of the issue.

Given a bit of breathing room in the breathless script, Dempsey and Judd might have been able to develop some convincing chemistry, but relationship dynamics get squeezed out by relentless plotting.

It's an impressive movie, but the indie filmmaker has little to add to the debate beyond the eternal truth that the innocent always suffer most.

For admirers of the artist and the open-minded, Over Your Cities Grass Will Grow actually presents the ideal way of appreciating Kiefer's extraordinary work.

A blatant commodity designed to illustrate what a splendid influence the hit television show has been on the world at large, if the series' creators don't mind saying so themselves.

To borrow from TV terminology, the series hasn't jumped the shark yet, but the strain of inventing bizarre deaths is beginning to show.

Though still a stretch for Western viewers, its bold directness and modern look should help bridge the culture gap and make it one of the most accessible Mideast films this year.

Areces is inventive and scary in main role, though it's impossible to sympathize with his madness. Other performances are gaudy but perfunctory.

Certainly delivers the goods as far as quantity of sex goes. But the quality will leave some cold.

Feels lavish by normal documentary standards and will have great appeal in such F1 hotbeds as Europe and South America.

Taylor does capture the Jim Crow era and its anxieties well, but his characters tend toward the facile and his white heroine is too idealized.

A limp piece of fan fiction about a fictional rock band's heyday and decline.

The filmmakers' fidelity to their source material is admirable, but more historical context could have made this Trip as illuminating as it is magical.

Fleischer stages one chase scene with a bit of comic flair but otherwise never locates that mix of macabre action and comedy that at least made "Zombieland" amusing.

Strong action, special effects and by far the most credible ape "performances" yet seen will spell box office to inspire chest-thumping in all markets.

The Change-Up bravely attempts to revive the dormant subgenre but it's a lame effort that grows increasingly frantic and foul-mouthed as the realization sets in that the gimmick isn't working.

Young director Marek Najbrt, commendably, is not interested in wringing easy tears from the European experience of World War II. In the handsome drama Protektor, he brings a cool, noirish slant to a story of Czech artists and intellectuals as they accommodate and to a lesser extent resist the German occupiers.

The film has its flaws in storytelling due to the unwieldy size of its narrative but strong performances and an unwavering observation of inhumanity on all sides make Habermann a provocative film.

What is left is the sheer joy of storytelling, and willing audiences will find themselves caught up in a what-happens-next page-turner of a film.

Green has chosen for his focus to fall on Enrique, in many ways the least interesting character in his story, rather than the son or even the mother who is surprisingly protective and understanding.

It's messy and leaves an unusual taste on the palate, but Bellflower has a strange, ugly-sweet appeal that couldn't have been produced without the schlocky entertainments that have channeled the imaginations of gifted but impressionable kids for decades.

Overall this is an impressive debut from a filmmaker with something to say and the talent to say it.

The film never quite pins the chef down about any of this but in his menu introduction to the staff or off-hand remarks to long-time colleagues you begin to understand the mindset. "The more bewilderment, the better," he declares. He is not joking.

For all the digitally enhanced Smurfness, the results are remarkably mirthless.

A high-wire act that almost slips as it edges perilously closer and closer to the edge of improbability. But it never does.

Good Neighbors is a film of acquired taste. If one is willing to accept humor in a movie about a serial killer, if one likes a thriller than emphasizes character over thrills, if one is susceptible to a cast of characters that includes three cats, then the movie has found its very selective target audience.

Life in a Day is an experimental project driven by the Internet at its best, where connectivity among the planet's population has become a reality.

Undeniably fascinating as a visit to a world you'd never have wanted to have come near in real life -- that of the Hussein family's inner sanctum -- the film falls crucially short by not providing a window into the mind of the man who was coerced into acting as his double.