Less horrific than it is horribly didactic.

Writer-director Preston A. Whitmore II throws enough soap opera for an entire TV season into a story that nearly -- but not quite -- sinks from the weight of all these implausible events. Animated acting and the sheer chaos of this squabbling family give the film a comic buoyancy.

Director Robert Zemeckis not only deploys 21st century movie technology at its finest to turn the heroic poem into a vibrant, nerve-tingling piece of pop culture, but his film actually makes sense of Beowulf. In Zemeckis' hands, it's an intriguing look at a hero as a flawed human being.

Has thoughtful and funny characters, something that should give this droll drama appeal beyond a niche gay audience.

Shot on location in vibrant Cartagena, the film's strong suit is aesthetic. Cinematographer Alfonso Beato, designer Wolf Kroeger and costume designer Marit Allen evoke aged exotic locales, rugged rural settings and dimly lit period interiors. A closing, aerial image has a breathtaking, spiritual beauty.

Noah Baumbach has followed up his acclaimed 2005 breakthrough "The Squid and the Whale" with another wryly observed, giddily cringe-inducing, bracingly original winner.

For all its playful touches and neat-o nostalgia for nondigital entertainment, the whimsy feels forced.

De Palma's screenplay is outstanding, and he draws wonderfully naturalistic performances from his youthful cast.

Despite effective moments, VanAlkemade's film is too diffuse. He gives us snippets of the group's spirited performances, but their effect on audiences remains unclear.

The English term "shambolic" best describes a slow-paced, bloated and self-indulgent picture that combines science fiction, sophomoric humor and grisly violence soaked in a music-video sensibility.

The Coens' typically superior filmmaking sustains the electrifying mood for most of the picture, but they are undone by being too faithful to the source novel by Cormac McCarthy.

The film isn't just not funny, it is off-putting.

Politicians, the media, educators, military commanders and a docile public all come under fire in a well-made movie that offers no answers but raises many important questions.

In the sadism-for-thrills sweepstakes, P2 is no "Saw," but it will get young women to clutch their dates for a week or so in theaters before fading to DVD shelves.

It's overblown and extravagant business as usual.

A refreshingly upbeat film that finds its roots in some seriously sobering events.

An unsparing look at child prostitution is a hard sell for audiences, but this movie is a memorable achievement, far superior to the recently released "Trade," another movie about sex trafficking.

Despite his obvious infirmities, Reilly infuses his performance with a great deal of energy -- frequently shouting his lines for emphasis -- and, of course, perfect comic timing. It's fortunate that we have this filmed record -- directed by Barry Poltermann and Frank Anderson -- of a memorable solo performance by a true show business original.

The most appreciative audience for this lame National Lampoon release likely will be guys in tour buses.

It's workmanlike and engrossing, but what sticks in the mind are Frank and Richie, not what anybody does.

Unfortunately, bees just aren't that funny...Nor is the odd story Seinfeld and his collaborators dreamed up very inspired.

Those who stick with Martian Child won't entirely avoid mush, but they will find terrific performances.

Stewart's documentary is seldom less than compelling in its quest to raise international awareness about a situation that is threatening to put sharks on the endangered list.

Pungently atmospheric, brilliantly textured and featuring superb performances from every performer in parts big and small.

Provides Steve Carell and Juliette Binoche with comic roles that fit them like designer threads.

Blandly interesting.

Livingston and director Steven Sawalich keep the character in constant motion, his dialogue sprinkled with humor and his energy contagious. The film also is surrounded by a crew of ferociously individualistic characters.

A heartfelt but dramatically flat portrait of a couple grappling with one tragedy whose lives are profoundly affected by the outcome of another.