An amiably clunky, unapologetically silly summer confection that nevertheless lands sufficient lethal slams to the funny bone.

About as subtle as its all too obvious title would suggest.

Good performances and a keen eye for period detail can't disguise the fact that not much is happening here story-wise.

From its actual and figurative scenes of cockfighting to its copious use of throbbing Brazilian music, there's little here that rises above the level of formula. But director Machado displays a sure touch in his ability to convey the sultry atmosphere of his exotic setting, and he has elicited admirably naturalistic performances from his highly attractive, youthful performers.

Attempts to achieve a Pedro Almodovar-level of humor without much success... Degenerating into witless slapstick.

While puzzles are not most peoples' lives, they are truly an essential part. Wordplay goes up/down and across on the varied reasons why more than 50 million Americans do a crossword puzzle every week.

The film reveals the influence of director/co-writer Werthman's profession because it adopts a highly clinical and thoughtful rather than exploitative turn. Although at times one wishes for a little more heat, of both the dramatic and erotic variety, there is an admirable intelligence and restraint on display.

First-time filmmaker Josh Gilbert, whose skills behind the camera are rudimentary, might be a bit too close to his subject to do disinterested viewers justice; he clearly is a fan and is making no effort to show both sides of the story he reports.

It might not be way up there in "The Incredibles"/"Finding Nemo"/"Toy Story" stratosphere, but the charming Cars is nevertheless a thoroughly pleasant way to mark Pixar Animation Studios' 20th anniversary.

Not since Woody Allen's "Radio Days" has anyone created such a cinematic Valentine to the wonderfully imaginative medium of radio as A Prairie Home Companion.

This musical documentary likely will find its major audience in Germany, where the immigrant-minority Turk citizenry will take to its array of sounds, smears and social commentary as cultural nourishment.

Making his feature-length debut after forging a career making socially conscious short films, director Ward Serrill never takes his eye off the ball, maintaining a sharp storytelling focus distilled from those seven years worth of footage.

Bottom line: A soft-hearted gross-out pic. If you're not a male between 17 and 23 and don't find the chance to see R-rated rejects from "America's Funniest Home Videos" a good thing, The Long Weekend will be a long and pointless haul.

Although reasonably compelling to watch and featuring fine performances from its charismatic and attractive lead performers, it ultimately displays little reason for being other than to serve as a transatlantic cinematic calling card.

The release date is the most original thing about it.

Audiences expecting a good time will instead be rewarded with wildly unsympathetic lead characters and uncomfortably long stretches without a laugh in sight.

By most standards, District B13 is a fairly routine summer action movie, albeit one in French. But what makes it unique are the truly amazing and kinetic action scenes featuring Parkour pioneer Belle and co-star Cyril Raffaelli.

The latest in a series of big-screen documentaries dealing with the conflict, and it does so in a particularly involving, fly-on-the-wall manner.

While a huge hit in its native country, is neither arty nor truly thrilling enough to greatly impress American audiences.

Augmenting Baer's interviews with various figures embroiled in the Middle East struggle, including members of Hamas and the Hezbollah, is chilling footage of actual attacks, much of it emanating from the terrorists themselves.

A daring and emotional documentary.

Strong performances by Scott Mechlowicz as Millman and Nick Nolte as the mysterious mechanic who changes his life ground the film in effective drama.

Lacks the subtle power of the previous two efforts, although boasting effective performances from its terrific cast.

Though the picture is not without its wow-inducing, SFX-driven moments, that potent X-factor is considerably diminished in Singer's absence.

This less than subtly titled documentary by Mark Birnbaum and Jim Schermbeck will undoubtedly find few viewers.

The documentary is an act of political activism. Guggenheim and his politically conscious producers, Laurie David, Lawrence Bender and Scott Z. Burns, have no interest in either challenging Gore's viewpoint or giving opposing opinions equal time. The film is simply a conduit for Gore's message.

The big shave is the starting point for a clever, if somewhat too clever, film from French critic, novelist and documentarian Emmanuel Carrere. La Moustache could be clipped down to Franz Kafka-meets-Jerry Seinfeld, where a whole slew of absurd petite calamities befall our everyday hero, triggered by his trim.

Da Vinci never rises to the level of a guilty pleasure. Too much guilt. Not enough pleasure.