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.

The result is a scary movie that is genuinely scary in parts, although an adult can't help noticing this is set in the very worn and tattered territory of the haunted-house genre. Then when you get a glimpse of the CGI critters causing all the mayhem, the scares completely vanish.

Shambles along with all the purposefulness of its title character, a kind of near-beer Lebowski who's neither reckless enough to cheer for nor misguided enough to disdain.

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.