Compelling portrait of famed radical lawyer by his daughters.

In a way, the film ultimately gets snagged in its own contraption.

Gutierrez's script can't supply female characters as believable as Almodovar's, but in the director's chair he gives his cast room to compensate with funny, self-aware performances.

The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.

As Precious, Sidibe is superb, allowing us to see the inner warmth and beauty of a young woman who, to her world's cruel eyes, might seem monstrous.

Even if The Men Who Stare at Goats is not worth comparing to "Dr. Strangelove," it should satisfy audiences with its great cast and patent absurdities, coated in quaint nostalgia for the happy hippie days of yore.

An artistic fiasco that cuts across genre lines and all logic to become, perhaps, an instant midnight movie.

Combines purported raw case study footage with dramatic "recreations" to unsuccessful effect.

Zemeckis' A Christmas Carol is, in its essence, a product reel, a showy, exuberant demonstration of the glories of motion capture, computer animation and 3D technology. On that level, it's a wow. On any emotional level, it's as cold as Marley's Ghost.

The result is something like an old-fashioned Costa-Gavras film but without the leftist sentimentality.

A moving if too-leisurely paced effort that benefits immeasurably from the superb performance by its 84-year-old star.

An odd little comedy drama set in Ireland that boasts more onscreen talent than it deserves.

Although the Tarantino influence still is tangible, this time around Duffy reveals himself to also be a big Francis Ford Coppola fan, but the cartoonish end result plays like "Godfather III" meets the Three Stooges.

Has little to offer besides unrelenting strangeness.

This is the perfect illustration of the banality of most scare movies.

Krakowski's heavy-handed overreaching is the fatal problem: It's impossible to believe this character, even as he softens late in the game, as a forgiving and familiar victim of awful parenting.

The fact that it's actually based on a true story adds an extra layer of poignancy, heightened further by another superb Sophie Okonedo performance.

What this strange yet strangely beguiling film does is capture one of pop culture's great entertainers in the feverish grips of pure creativity.

Visually gorgeous to a fault and teeming with grandiose if often fascinating ideas that overwhelm the modest story that serves as their vehicle, this may be the least artistically successful film von Trier has ever made.

Most of all, Earhart wanted to be able to fly free as a bird above the clouds, and director Nair and star Swank make her quest not only understandable but truly impressive.

Derivative bits aside, the pint-sized Japanese icon takes flight in vibrant CG animation -- no 3D glasses required.

Making a vampire movie without any bite is like removing guns from a Western.

It might well be time for a creative rebooting; the freshness, if not the viscera, has begun to strongly diminish.

(Untitled) assembles a collection of vivid character-types, sometimes a breath short of caricature. But for all its sharp comic angles, Jonathan Parker's film takes its central questions seriously and avoids the pat follow-your-bliss answers Hollywood prefers.

Neither earth-shaking nor profound, but it has considerable charm, thanks to an appealing cast and some sharply witty observations about the pressures of child-rearing in Manhattan.

You are not likely to see a better display of martial arts combat on screen for some time, even if you have to put up with some excruciating contrivances to get to it.

Regardless of critics' assertion of a change in style, Hong core group of intellectual admirers will still find pleasure in his cerebral film language, nuanced dialogue, and droll observations of a Korean abroad.

Biased as journalism but engrossing as a movie, this documentary about a controversial Holocaust figure should be taken with a grain of kosher salt.