This entertaining, inside-show-business documentary is greatly enhanced by the presence of the two engaging "boys" of the title -- brothers who found harmony through music and dissonance with each other.

In Arnold's absence, an important ingredient of the "Terminator" iconography -- namely, the fun factor -- is in short supply.

In preparing Burma VJ, Ostergaard decided to reconstruct some scenes with scripted dialogue -- in part to explain events, but also to protect the participants. This material, shot in darkened offices and apartments, feels both accurate and necessary.

Assayas makes the point that objects of fascination and affection to one generation may be far less so to the next. And he observes the role that people-friendly museums can play in keeping a nation's treasures safe with pleasing subtlety.

A couple of rather Dickensian supporting roles by Robbie Coltrane and Maximilian Schell fall embarrassingly flat as they are more creations of costumes and makeup than actual flesh-and-blood. But then the same can be said for the entire movie.

Plucking the same violent, occult strings as "Da Vinci" while avoiding its leadenness, Angels keeps the action coming for the best part of 139 minutes.

It's a well-constructed and thoughtfully paced drama and almost a thriller, but in the end credibility and tension get lost in the mail.

Ultimately delivers the goods, even if the goods aren't very fresh.

Shot on beautifully utilized film but employing images vividly from the Internet and mobile phones, it's an examination of the power that false ideas may have on people's imagination and beliefs when they are repeated over and over.

As Julia, Swinton belongs to that league of great cinematic alcoholics such as Jack Lemmon and Lee Remick in "Days of Wine and Roses" and Ray Milland in "The Lost Weekend." As an action character, she naturally evokes Gena Rowlands without ever trying to resemble her.

Ashes makes no claims to be an entirely accurate biopic; it's a speculative, impressionistic portrait without a lot of dramatic force or psychological depth. But it's an elegantly designed film that fascinates as often as it frustrates.

Has its moments, especially when lithe, beautiful bodies twirl themselves around the dance floor with appealing athleticism. But as a movie trying to deliver comedy, drama and romance, you might want to sit this one out. It's not terrible, mind you, but it just isn't very good.

There's a serious miscalculation when the lighthearted hijinks suddenly give way to a climactic scene of brutal violence.

Proves to be an engrossing and entertaining polemic that successfully walks a fine line between thoughtful debate and, well, juicy gossip.

Rudo y Cursi scores from every angle -- comic, personal and cross-cultural.

Paced at warp speed with spectacular action sequences rendered brilliantly and with a cast so expert that all the familiar characters are instantly identifiable.

So muted and internal in its focus that its entire running time feels like a preamble to a drama that never quite begins.

Unfortunately, the whole seldom adds up to the sum of its illustrious parts, and Jarmusch's trademark deadpan quirks seem to have gotten lost in the translation.

Hard luck conspires with bad sex in this unspectacular Austrian tale of crime and punishment.

A Wink and a Smile tries to tame burlesque, make it something to laugh at -- or worse, something that requires no skill.

The animation is splendid on what must have been, since this is not a studio film, a modest budget.

The movie clumps through one witless if not wince-evoking sequence after another without the relief of laughter.

An edgy entertainment, the movie also remarkably has the feel-good warmth of an old-time Irish film.

A film whose every shot seems lifted right off the wall of an art gallery and just as powerfully, if quietly, satisfying.

Feels surprisingly tame, coming off more like an extended advertisement for Grecco's coffee table book of the same name.

It's all an earnest effort, three decades too late.

One long wallow in sordidness.

Every move is telegraphed well in advance thanks to desultory writing, routine direction and ample musical cues.