Because the entire audience knows what's going on, the filmmakers hope to distract viewers from storytelling weaknesses with an urgent sense of style.

Unlike that widely appealing picture with the giant green ogre, this one's strictly for the kiddies.

A one-note, lightweight, condescending comedy about the rubes of Idaho.

Captures a complex and contradictory world figure. Imelda is by turns humorous, insightful and infuriating.

The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal.

The film is an example of social activism at its best; it's not only enlightening, but it's an engrossing story that a smart television audience should embrace.

The film will still prove a tonic to those holding left-of-center views.

A deeper, darker, visually arresting and more emotionally satisfying adaptation of the J.K. Rowling literary phenomenon, achieving the neat trick of remaining faithful to the spirit of the book while at the same time being true to its cinematic self.

It does offer plenty of musical numbers and an impressionistic portrait of his life and times.

Unfortunately, the back story behind FireDancer is ultimately more interesting than the finished product, a thematically ambitious but rough-hewn combination of love story and examination of cultural dislocation.

Not only doesn't provide any real information, it barely manages to convey why we should care. It represents a true squandering of a potentially fascinating subject.

Despite the fact there's no lack of raw material, Bukowski fails to place its subject's actions and statements in any psychological or literary context. It's simply a celebration of Bukowski's misogyny and self-abuse.

Starts out as an exuberant romp but soon gets trapped in a holding pattern of dumb sex and toilet jokes.

This comedic jape delivers some sharp jabs at obvious targets, namely the boosterish excesses of American religiosity.

One of the best looks at a period in American film to be seen in a long, long while. BaadAsssss Cinema has meat on its bones and analysis in its soul.

Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods.

A dysfunctional drama.

In this enjoyable if trivial battle between von Trier's psychodrama theatricality and Leth's cool formalism, it's ultimately the viewer who comes out the winner.

Marshall's predilection for romantic fairy tales is much in evidence, though the comedy registers in a lower key than it did in such hits as "Pretty Woman" and "Runaway Bride."

Comes across as Almodovar lite, but the film, from director-screenwriters Ines Paris and Daniela Fejerman, offers some pleasures along the way, including an engaging performance by Leonor Watling ("Talk to Her").

Taking satiric aim at a familiar target, conformity, Australian playwright Tony McNamara's film debut is by turns incisive and broad.

The finely observed moments in Stateside accumulate little emotional power. The promise of something startling and compelling goes unfulfilled, and the arc of the central love story isn't interesting enough to sustain the drama.

Despite the sterling performances by the two main actors, the movie tends to lose pace in the second half and needs more secondary characters. But for a first time in the director's chair, Samuell shows a deftness of touch that bodes well for the future.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

Even more egregious than the film's concept is its execution, as it somehow manages to make scenes of drug addiction, hustling and even brotherly incest quite tedious.

Reunites one of the best voice casts ever for an animated film to create a shrewd entertainment that again successfully aims its jokes at various age groups.

All too ironically titled as it details in lethargic and sometimes convoluted fashion the stories of the many heroic and often unsung figures involved.

The movie observes and dramatizes, yet seeks no overriding social moral.