Scott has an eye -- and it's a very good one -- for sieges of castles, charging horsemen, hand-to-hand combat, glistening swords arcing through the air and deadly arrows whistling toward helpless targets.

Bland, predictable picture, whose sole assets are a cute premise, the Italian countryside and the dignity Vanessa Redgrave brings to a part that, on the page, is quite beneath her.

That it squanders a terrific cast in the process -- one that also includes Common, Phylicia Rashad and Pam Grier -- makes it all the more disappointing.

Most notable for its evocative photography of the bleak Oklahoma landscapes and for the memorable turns by its two leads, who bring a haunting, world-weary gravitas to their performances that feels utterly authentic.

There's no shortage of fascinating segments.

Here and There deserves all the attention it can get for its limited release. Beautifully executed, the semi-autobiographical film is set between the director's adopted New York and his native Belgrade, Serbia.

Despite dialogue devoid of subtext, weaknesses in the screenplay and uneven performances, the story, as rendered, has a disarming innocence.

A stirring romantic drama centering on the last royal heir to the native line of traditional monarchs.

Very funny and a bit sentimental, it's naturalistic comedy of the highest order, with Evets and Henshaw standouts among a terrific cast.

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.

Well, that didn't take long. Everything fun and terrific about "Iron Man," a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines.

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.

An overwrought and undernourished drama.

A lifeless period romance of the cutesy-cantankerous persuasion.

Some may find the film overly schematic, but Garcia smartly uses three parallel narratives to probe the extraordinary nature of motherhood.

A numbingly indulgent drama whose fine cast can't breathe life into a script that isn't nearly as self-aware as it thinks.

Fascinating, however uneasy, viewing.

This mostly unfunny effort -- though it might have made them laugh silly in its home country -- is unlikely to appeal to art house audiences on this side of the Atlantic.

As a portrait of children who are wanted and loved, it's intimate and often delightful.

Not for the faint of heart or for those who like their films to have beginnings, middles, and ends.

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

A rousing fable drenched in Indian "magic realism" pays tribute to the enchantment of movies.

It's an energetic and vivacious film that will appeal to fans of punk rock worldwide and should find its place in the pantheon of great music-film biographies.

The back-to-the-beginning approach unimaginatively goes through the motions, offering scant justification for its boring existence, at least from an artistic point of view.

A collection of feeble jokes in the service of green themes. Sustainability never looked so stupid.

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.

Crosses the line from horror to just plain sick.

The performances are excellent all around, with Scott mesmerizing as the emotionally volatile Laevsky and the gorgeous Glascott making vividly clear why her character drives all the surrounding men to distraction.