Has little to offer besides unrelenting strangeness.

This is the perfect illustration of the banality of most scare movies.

Krakowski's heavy-handed overreaching is the fatal problem: It's impossible to believe this character, even as he softens late in the game, as a forgiving and familiar victim of awful parenting.

The fact that it's actually based on a true story adds an extra layer of poignancy, heightened further by another superb Sophie Okonedo performance.

What this strange yet strangely beguiling film does is capture one of pop culture's great entertainers in the feverish grips of pure creativity.

Visually gorgeous to a fault and teeming with grandiose if often fascinating ideas that overwhelm the modest story that serves as their vehicle, this may be the least artistically successful film von Trier has ever made.

Most of all, Earhart wanted to be able to fly free as a bird above the clouds, and director Nair and star Swank make her quest not only understandable but truly impressive.

Derivative bits aside, the pint-sized Japanese icon takes flight in vibrant CG animation -- no 3D glasses required.

Making a vampire movie without any bite is like removing guns from a Western.

It might well be time for a creative rebooting; the freshness, if not the viscera, has begun to strongly diminish.

(Untitled) assembles a collection of vivid character-types, sometimes a breath short of caricature. But for all its sharp comic angles, Jonathan Parker's film takes its central questions seriously and avoids the pat follow-your-bliss answers Hollywood prefers.

Neither earth-shaking nor profound, but it has considerable charm, thanks to an appealing cast and some sharply witty observations about the pressures of child-rearing in Manhattan.

You are not likely to see a better display of martial arts combat on screen for some time, even if you have to put up with some excruciating contrivances to get to it.

Regardless of critics' assertion of a change in style, Hong core group of intellectual admirers will still find pleasure in his cerebral film language, nuanced dialogue, and droll observations of a Korean abroad.

Biased as journalism but engrossing as a movie, this documentary about a controversial Holocaust figure should be taken with a grain of kosher salt.

Greenaway is first and foremost a deft storyteller and filmmaker -- and a cheeky art historian. An appreciation of art isn't necessary to enjoy Rembrandt's J'Accuse, and Greenaway goes to great lengths to draw the artistically illiterate into the story.

Where the film falters is Jonze and novelist Dave Eggers' adaptation, which fails to invest this world with strong emotions.

The script does create sufficient tension and intrigue to hook viewers along with a photogenic, hardworking cast.

Most of these linked "shorts" succeed remarkably in nailing the serendipitous flavor of love, New York-style.

This remake turns a fondly remembered horror/thriller into a mild and tedious suspense film.

Despite this promising subject matter, the film runs out of steam two-thirds of the way through and becomes a sort of Palestinian "Porky's," ending with a fast-forward 30 years into the future that is confusing and abrupt.

This is strikingly talented cinema from a notable international filmmaker.

Topped by a fine cast, a first-rate script by Nick Hornby and tight direction by Lone Scherfig, the film is a smart, moving but not inaccessible entry in the coming-of-age canon.

Director Tom Hooper ("John Adams") ably balances the games (surprisingly little football footage, actually), the personalities and the drama.

A good idea for a sophisticated comedy lurks within the latest Jon Favreau-Vince Vaughn collaboration, Couples Retreat, but the filmmakers lack the courage of their convictions. So the payoff is mixed at best.

Despite the artistic flourishes, this is still an utterly repellent look at a psychopath who does not deserve the attention of the filmmakers or the audience.

Entertaining and substantive enough to be interesting even for those completely unfamiliar with weaves and relaxers.

Although Trucker doesn't have the social import that made "Norma Rae" a hit, it's an affecting, small film that could catch on with sophisticated audiences as well as more down-home types.