A lifeless period romance of the cutesy-cantankerous persuasion.

Some may find the film overly schematic, but Garcia smartly uses three parallel narratives to probe the extraordinary nature of motherhood.

A numbingly indulgent drama whose fine cast can't breathe life into a script that isn't nearly as self-aware as it thinks.

Fascinating, however uneasy, viewing.

This mostly unfunny effort -- though it might have made them laugh silly in its home country -- is unlikely to appeal to art house audiences on this side of the Atlantic.

As a portrait of children who are wanted and loved, it's intimate and often delightful.

Not for the faint of heart or for those who like their films to have beginnings, middles, and ends.

A would-be provocative satire that too often settles for sitcom-grade silliness, The Infidel represents an opportunity wasted.

A rousing fable drenched in Indian "magic realism" pays tribute to the enchantment of movies.

It's an energetic and vivacious film that will appeal to fans of punk rock worldwide and should find its place in the pantheon of great music-film biographies.

The back-to-the-beginning approach unimaginatively goes through the motions, offering scant justification for its boring existence, at least from an artistic point of view.

A collection of feeble jokes in the service of green themes. Sustainability never looked so stupid.

Think of Please Give as a finely tuned short story with every glance and gesture full of suggestive meaning. Drama is not high on the agenda here. There is a bit of comedy and, briefly, sexual mischief even though it doesn't look like much fun.

Crosses the line from horror to just plain sick.

The performances are excellent all around, with Scott mesmerizing as the emotionally volatile Laevsky and the gorgeous Glascott making vividly clear why her character drives all the surrounding men to distraction.

Jennifer Lopez carries this thin concept about as far and as well as she can, with Alex O'Loughlin in his first leading-man outing managing not to get lost in the shuffle.

The film never is boring, but it's never engaging, either, because its heroes hit every target in sight, while the villains, despite holstering much greater weaponry, never hit anybody. So forget about suspense.

A love note to '30s-era burlesque that plays best for those already invested enough in the milieu to hang on every word of aged strippers.

There's no denying that it is often outrageous fun, and the news that Fragasso and Drudi are working on a script for "Troll 2: Part 2" is but the icing on a very nasty cake.

A jaunty, happy-go-lucky adventure that packs a fistful of dynamite in the spectacular showdown.

A well-stirred titillation that will appeal to twentysomething audiences and movie-buff viewers who appreciate the pursued-pursuer, Hitchcockian style of suspenser.

Paper Man is a bad idea, and the film, despite a few brave and good performances, never recovers from awkwardness of its premise.

Adolescent angst is the focus of Accidents Happen, a turgid melodrama based loosely on Brian Carbee's autobiographical book and one-man theater piece.

What "Winged Migration" did for birds, Oceans does for all sorts of strange sea creatures in an ambitious, impressively filmed documentary.

The guy really goes all out in these performances.

But nothing taps his own particular talents to unsettle audiences with truly edgy material. Funeral gets no more edgy than a potty joke and a corpse tumbling out of a coffin. This is nothing more than juvenile slapstick.

Its balancing act between innocence and gore perfectly matches the expectations of genre fans, who should embrace the movie.

What could have been a biting black comedy taking product placement to the logical extreme instead is so obviously predictable that even a savvy cast led by David Duchovny and Demi Moore can't sell it.