Christian McKay's impersonation of young Orson Welles is sensational in this enjoyable, though slight, historical fiction about a teen who spends a memorable week with the legendary wonder.

Bullock is an irrepressible hoot in writer-director John Lee Hancock's otherwise thoroughly conventional take on Michael Lewis' fact-based book "The Blind Side: Evolution of a Game."

There is a lot of very black humor; and it develops, somewhat surprisingly, into something suggesting a kind of cheerful pessimism.

This is a pretty minor film from the filmmaker. It feels like more of an exercise in plotting and movie nostalgia than a story about real people.

Once again, the three young leads give committed performances, with Lautner's character allowed a larger share of the spotlight this time around.

A perky though not terribly imaginative feature aimed primarily at youngsters.

The most affecting scenes, however, involve the class of Israeli teenagers visiting Auschwitz.

The sole redeeming factor is the presence of Olivia Wilde (Fox's "House"), who manages to keep the proceedings watchable for at least a portion of the running time.

This precision-controlled film once again highlights Alexander Sokurov's mastery of the medium. The third entry in his Men in Power series employs refined performances, a controlled script, excellent sound and fluid camerawork.

If one thinks of "Babel" minus the melodrama and histrionics, you get a clearer picture of what Moodysson has done here.

A low-key mystery that's initially engaging but ultimately lacks sufficient intrigue to sustain interest.

A prelude that provides the beams and columns for the narrative framework, but with a few decisive and spot-on action spectacles, it sufficiently kindles expectations for the climactic clash in Part 2.

Anderson has created a world as stylized and inventive as anything he's done... "Fox" is a visual delight.

Eye-popping special effects ensure that this movie will be a smash hit, and while it's entertaining for most of its excessive running time, the cheesy script fails to live up to the grandeur of the physical production.

Moverman adopts a functional directing style that gives full rein to the actors' impressive performances.

The real pirate radio ships, whose days ended in 1967, wound up being towed away for salvage but the film avoids that fate -- like the best rock songs -- with a rousing finish and a pleasing climax.

A smart and well-observed entry in the genre, is a cut above the usual hijinks.

Compelling portrait of famed radical lawyer by his daughters.

In a way, the film ultimately gets snagged in its own contraption.

Gutierrez's script can't supply female characters as believable as Almodovar's, but in the director's chair he gives his cast room to compensate with funny, self-aware performances.

The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.

As Precious, Sidibe is superb, allowing us to see the inner warmth and beauty of a young woman who, to her world's cruel eyes, might seem monstrous.

Even if The Men Who Stare at Goats is not worth comparing to "Dr. Strangelove," it should satisfy audiences with its great cast and patent absurdities, coated in quaint nostalgia for the happy hippie days of yore.

An artistic fiasco that cuts across genre lines and all logic to become, perhaps, an instant midnight movie.

Combines purported raw case study footage with dramatic "recreations" to unsuccessful effect.

Zemeckis' A Christmas Carol is, in its essence, a product reel, a showy, exuberant demonstration of the glories of motion capture, computer animation and 3D technology. On that level, it's a wow. On any emotional level, it's as cold as Marley's Ghost.

The result is something like an old-fashioned Costa-Gavras film but without the leftist sentimentality.

A moving if too-leisurely paced effort that benefits immeasurably from the superb performance by its 84-year-old star.