It's simply old-school stunts and movie magic.

It's an unforgettable, visceral journey into the heart of darkness.

Even with its flaws, 1408 deserves to be appreciated by connoisseurs of acting and bravura filmmaking.

Carell is getting quite good as these everyman characters but lacks the audacity of, say, a Carrey or a Robin Williams. He is making comedy out of dullness.

Expertly fashioned documentary-style drama.

A giddily subversive addition to the age-old cinema tradition of the horror comedy.

Demonstrating that the apple doesn't fall far from the tree, the screenwriter-director has delivered a well-observed film boasting highly realistic performances and dialogue, if not plot elements. But it's Posey's fascinating portrayal of a thirtysomething Manhattan single woman looking for love that lifts the film above its "Sex and the City" predictabilities.

Its razor-sharp script by Christopher Markus and Stephen McFeely and the hilariously deadpan comic performances by Ben Kingsley and Tea Leoni make it a consistent pleasure.

The result is a pleasingly discursive film that depicts Klimt and the ideals and locales of fin de siecle Vienna.

Longing makes you long for a good movie. Tedious and long-winded even at 90 minutes, this German film, written and directed by Valeska Grisebach, tells a mundane tale of adultery that lacks even the slightest insight.

The result is a highly unusual viewing experience that stimulates the senses and the conscience simultaneously.

An improvement of sorts over the lifeless 2005 edition.

The culture-clash procedural, which brings the small-town teen to big bad Hollywood, feels more perfunctory than inspired.

More dumb than funny.

This is Shakespeare as action film --- furiously paced and unapologetically cinematic.

Lights will put in more appearances at festivals before achieving a brief theatrical window for Kaurismaki devotees to gaze through. Most will do so with discouragement.

This time, in a clever script by Brian Koppelman & David Levien (who wrote the poker drama "Rounders"), the heist is for friendship.

Roth has managed the rare feat of actually improving on the original.

A cheerful and frequently amusing bit of nonsense, which certainly will provoke children into giggles. The film does not measure up to "March of the Penguins" or "Happy Feet," both Oscar-winning efforts. Nor is it trying to.

The film is messy the way Piaf's life was messy: It's unafraid of extravagant gestures even when they fail to come off.

The latest example of J-horror to reach our shores, Takeshi Furusawa's Ghost Train demonstrates that the increasingly tired genre may be in need of a serious overhaul.

Apatow's gleefully raunchy movies are, in an odd and charming way, extremely family-friendly.

For all the personal ties to the material, the film too often reaches for broad-strokes inspiration in a way that feels generic.

The film feels sleazy and nasty --- but without the pulp kick of filmmakers who know how to do sleazy and nasty.

Despite the inherent, shocking nature of the material, Dan Klores' narrowly focused, poorly paced documentary lacks a narrative thrust that could have made for a more compelling film.

Day Watch does dazzle and even at times amuse. But its imagination is limited. The backstory is shallow and pat. Its characters are mostly one-note. And everything goes on much too long at 133 minutes.

In telling this ancient story with style and humor, de Heer and his Aboriginal collaborators promote cultural understanding and acceptance by stealth, if you will.

With his (Friedkin) vigorous camera compositions and a talented cast, he manages to straddle a wickedly fine line between taught portrayal of paranoia and parody of paranoia.