Alternately compelling and dramatically limp, the film scores points for exploring unfamiliar territory but lacks the emotional depth to make some very strange behavior believable.

As surprising as it is delicious with an indelible performance by new star Sally Hawkins.

Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.

Martial-arts lovers may find it too arty, and art-film lovers, Wong's international fan base, may find it too generic and too violent.

It's all here: the ingenious, obscenity-laced language, the double crosses that turn into triple crosses, the swaggering characters so in love with themselves. GottaLove RocknRolla!

A film whose lightness of touch rides a wave of family conflict to perfectly balance smiles and tears.

By focusing so narrowly on religious fundamentalists and bigots while ignoring any spiritual dimension to religion, the film is not only being disingenuous but limits its audience to non-believers.

The picture might not be as fresh and clever as it could have been, but its spirited voice cast delivers the whole enchilada.

Blindness is provocative cinema. But it also is predictable cinema: It startles but does not surprise.

It's also solidly constructed throughout and the acting is impeccable. The problem is that it just lumbers along for two solid hours, never rising to any significant emotional or philosophical heights.

The sole laughs are scored by Robert Davi, amusingly playing it straight as a Muslim terrorist who wants to hire Malone to make a suicide bomber recruitment film.

Simon Pegg is likably smart and obnoxious as the fish-out-of-water Brit in high-gloss Manhattan, but he's swimming upstream in a feature that substitutes slapstick for scathing wit.

Working with non-pro actors, Hammer pulls authentic performances from the trio that are at times almost too painful to witness.

This moderately engaging, offbeat film requires a patience that audiences haven't demonstrated recently for stories concerning the fate of soldiers at home or abroad.

While hardly sophisticated in its approach and certainly not polished in its technical elements, the film does get its heartfelt message across with undeniable sincerity.

This inspirational sports drama unfolds in such generic fashion that it feels contrived more often than it rings true.

A shrill, far-fetched thriller.

Odd too, for a film that wants to correct impression anyone had as to the abilities of black U.S. soldier in combat, are the ethnic cliches about Italians and Germans, to say nothing of rednecks.

For much of the way, the film just feels like it's pressing too hard to make an impression.

A tasteful melodrama courtesy of the easy chemistry between its two leads and a generally restrained touch from Tony-winning director George C. Wolfe in his feature debut.

The great strength of the film is that it is difficult to know where cinema verite leaves off and fiction begins.

While Atwater exerted notable influence on contemporary politics, this account of his career doesn't make for particularly absorbing viewing.

Poorly structured and at times incoherent.

Modest but moving, a finely observed portrait of a father/daughter relationship that will resonate deeply for many viewers.

A fine dramatic comedy with fresh characters, witty dialogue and a keen interest in how relationships must have developed among frontier folks, tyrannical ranchers, no-nonsense lawmen and -- oh, yes -- the complicated women on that frontier.

While it makes no bones about where its sympathies lie, these fictional stories show a genuine fascination with the role politics plays on both sides of such confrontations and how things can spin out of control with no single person to blame.

Keira Knightley is a terrific choice to play the 18th century socialite.

In spite of a few missteps, the cumulative impact of the film is undeniable.