Imagine Paddy Chayefsky's "Marty" saddled with more sentimentality and sprinkled with a few more laughs and you pretty much have Last Chance Harvey.

A warm and fuzzy family movie, but you do wish that at least once someone would upstage the dog.

Singer has crafted a fine film. One just wishes for greater details -- and a different ending.

A penchant for suffocating close-ups and an overabundance of scenes that go on far too long mar Abdellatif Kechiche's The Secret of the Grain, an otherwise engaging drama about an immigrant Arab family in France.

The flatly generic results certainly appear at odds with the picture's stirring visual style, which pays homage to the great Flemish artists.

Highly enjoyable romantic comedy.

The film's Italian director does achieve in his second American outing a pleasing blend of Hollywood professional sheen and European sensitivity to character details and nuances.

Carrey's most satisfying live-action effort since "Eternal Sunshine of the Spotless Mind."

Bolstered by a career-best performance from Mickey Rourke and outstanding work by Marisa Tomei and Evan Rachel Wood.

A typically intelligent if occasionally overwritten political thriller, boasting a powerhouse cast.

Presented as a straight documentary about an American pop singer who had one U.K. hit in the 1960s as a member of a boy band and has gone missing ever since, but it plays like the slyest of spoofs.

Eastwood has always had the gift for comedy in his acting repertoire, but he indulges in it only rarely. His fans might embrace this return to comedy.

If this earnest, two-part biopic with a total running time of 268 minutes sometimes lacks cinematic flair, the straight-ahead, chronologically-driven film will inform and, to a somewhat lesser extent, excite viewers everywhere.

As a whole, the picture is, frustratingly, always much more about structure than substance.

Despite the best efforts of stars Keanu Reeves and Jennifer Connelly, this new "Day" is tired and corny.

The film is nothing if not provocative.

The situations tend toward contrivance, but the atmosphere is easygoing and the actors seem relaxed even when everyone at the family table is yelling.

The madness of Holocaust survivors is here played mainly for dark comedy. The film's dazzling central performance in a mental institute finds Jeff Goldblum in the role of his career.

With Mark Ruffalo and Ethan Hawke registering personal bests in the performance category as well as playing magnificently and ultraconvincingly off each other, What Doesn't Kill You, a true story that is powerful and completely riveting from beginning to end.

An engaging period drama. But German postwar guilt is not the most winning subject matter for the holiday season.

Michelle Williams does her best but she cannot prevent Kelly Reichardt's Wendy and Lucy, a weak tale about being broke and on the road in rural America, from dwindling into boredom.

Trite, grim and feebly provocative.

In watching this film, it's best not to worry much about the film's fidelity to history but rather simply lean back and enjoy one great jam session on film.

Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.

So unrelentingly violent that all but teen boys might as well stay home.

Less a political movie than a boxing film without the gloves.

Much has been made of supermodel Gemma Ward's doll-like features, but there's nothing plastic about her debut performance in the charming Australian indie The Black Balloon.

Bad enough to create one of the most joyless Christmas movies ever, but then to go for an unearned feel-good ending adds insult to injury.