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.

Director Darren Lynn Bousman, who also helmed the past two installments, doesn't deviate from the stylistic formula, which includes grinding industrial music, frenzied editing and a blue-gray color palette.

Amusing cinematic buffoonery by a man poking fun at movie conventions and the movie business itself.

It's undeniably fascinating, but you might want to take a shower after hanging out with this unsavory bunch.

Dramatically, the film is a shambles, with whiplash-inducing lurches in tone and pacing that make it seem as if portions were edited out of sequence.

Koechner tries hard, but ultimately scores few laughs except for when, like Ferrell, he bares his comically less than toned, fleshy body.

It's a tribute to this thoughtful, deeply poignant, splendidly executed film that we replay the conclusion in our minds long after the lights come on.

Ultimately, the film, for all its evident verisimilitude, never really demonstrates a compelling reason for being.

Rendition tackles the concern in a heavy-handed thriller with simplistic characters and manipulative story lines.

Paints itself into a corner, creating a static situation in which everyone is either stymied or wracked by indecision, leaving the movie free for its two male leads to wallow in self-pity, remorse and bad behavior.

An unstable mix of a tearjerker, junkie-recovery story and odd-couple pairing. The film marks the American debut of Danish filmmaker Susanne Bier, whose European films show a strong affinity for stories of human frailties and of families unraveling.

Somewhat original and amusing. But only somewhat.

O Jerusalem has the virtue of energy, but it suffers from superficiality, particularly with regard to the characterizations.

The elegant looking, nostalgic film is undermined by inadequate character development, amateurish acting and sentimental self-regard.

This autobiographical tale of a 10-year-old boy coping with his mother's severe illness boasts terrific performances from its three leads -- Joe Pantoliano, Marcia Gay Harden and young Devon Gearhart.

Poor writing, an indifferent production and sincere but often wooden acting make "Season" one big strikeout.

A deep, sweet-hearted study not only of one lonely character but also of the community that supports him.

Despite top-flight acting from Michael Caine and Jude Law, it loses its grip in the third act and let's the air out of what might have been a memorably gripping film.