Several stories, or scraps of stories, are woven together in the making of Jellyfish ("Meduzot"), linked by common themes and a shared sense of humor, poetry and loss.

Clooney, the film's director and star, can't make up his mind how to approach the story. One minute it's a romantic comedy. Then it switches to slapstick, then to screwball comedy before sliding into Frank Capra territory.

After a promising start, this quirky comedy falls flat despite Eckhart's best efforts.

The director is chasing a mood here -- a mood, an atmosphere and feelings -- much as he did in "In the Mood for Love."

This family comedy adventure from Walden Media is likable in a scruffy way. Its characters, especially the youngest one, are engaging, and few adults are immune to childhood fantasies about secluded tropical isles.

In the end, the gimmick is too risible and its effects on the characters too forced to sustain either suspense or horror.

A lame comic idea poorly executed dooms Sex and Death 101 to failure.

The film does not stand up to the current crop of music/concert films like "U2 3D," which brilliantly uses 3-D to show the Irish band in concert so as to encapsulate its relationship to its fans, each other and their own music, and "CSNY: Deja Vu," which hones in on the political connection Crosby, Stills, Nash and Young have to their music.

Although a little too open-ended to be wholly satisfying, Water Lilies is still an excellent directorial debut.

Not the freshest heist movie ever made, Flawless still has a few pleasures to offer, thanks to a well-studied social and political background and to Michael Caine's lovely creation.

The pic benefits from a loveable-loser turn by Simon Pegg, but the "Shaun of the Dead" star's presence may also lead to disappointment for those familiar with his work.

Escapist moviegoers happy to live out a flashy fantasy get a brief comeuppance and still walk away from the table with a little something in their pockets.

High praise to the cast and crew. Jared Leto is mesmeric as the bloated, deranged Chapman. It's a brilliantly measured performance, evincing the tale of a madman through his own awful rhyme and reason.

Documentarian Morgan Neville has fashioned a spirited riposte to the groundless cliche that Los Angeles is a cultural wasteland.

A young cast and hotheaded melodramatic streak make it broadly accessible, perhaps enough so to help the film scrape past boxoffice challenges faced by other Iraq-centered features.

By-the-numbers screen parody fails to resurrect an increasingly tired genre.

A relatively lame exercise that never achieves comic traction.

What The Grand lacks in originality it more than makes up for with its high percentage of funny moments.

The film hardly could be credited with breaking any new ground, but it has a hangdog charm, much like its leading actor.

Features a fine performance by Angela Bassett, but her work is the sole subtle element.

Genuine scares are few and far between, and the climactic explanation for the ghost's appearances comes as something less than a revelation.

An eye-catching combination of cultural history, performer profiles and competition footage that should see enthusiastic response from niche audiences in urban and specialty venues.

Marianne Faithfull is unforgettable as a middle-class, middle-aged frump …in Sam Garbarski's crowd-pleasing comedy-drama Irina Palm.

Mitra, clad in the requisite tight, sexy outfits, conveys a suitable toughness but little in the way of personality, while such distinguished British actors as Bob Hoskins and Adrian Lester dutifully show up to collect their paychecks.

A delight, brimming with colorful, elastic characters and bountiful wit.

Although the movie set in the hot new arena of mixed martial arts is a bit short on star power, it's energetic and warm-hearted enough to become a word-of-mouth hit.

Even if the movie takes you to some dark places you would rather not visit, at least you will remember the actors who navigate the tortured journey.

The movie is, arguably, too long and overladen with ideas. Klotz and Perceval are particularly keen on nailing the use and abuse of language in formatting human behavior.