The greatest romantic movie to jumble its time structure, Stanley Donen's "Two for the Road," is a touchstone that DiPietro must have had in mind. While this low-budget indie doesn't have the gloss or the depth of that romantic classic, the highest compliment I can pay Peter and Vandy is that it belongs in the same company.

This movie is a hoot, and a pertinent one at that.

It's an engaging piece of humanistic storytelling.

The always surprising Coen brothers have finally made a very serious movie with A Serious Man. It's about God, man's place in the world and the meaning of life, so naturally it's one of their funnier movies.

Clicks on so many levels -- heartwarming family story, rough-and-tumble display of grrrl power and a secondary but tender and convincing romance.

Falling closer in tone to "Shaun of the Dead" than "28 Days Later" or the George Romero movies, Zombieland has its tongue planted firmly in its rancid cheek while still delivering the visceral goodies.

Gervais and Robinson take what might have been a cute concept comedy and elevate it to delicious heights.

This is one helluva good movie that craves the eyeballs of as many American high schoolers as it can possibly get.

This is a sophisticated stylistic exercise too rarefied for wide audiences, but earmarked for critical kudos.

Manhattan's storied hotel is the timely subject of this passionate tribute.

While following a fairly predictable story line, the film has enough ambushes, treachery and irony to sustain audience involvement with a range of characters that stand for diverse points of view about that war.

For both the parents and the filmmakers, the journey of The Horse Boy was tough and utterly unpredictable, but their act of faith has produced a film that's surprisingly upbeat, evenhanded and imbued with wonder.

A mechanical sci-fi'er absent of logic or emotions. It functions as an expensive place-filler on the Disney release schedule and, as such, will be welcomed by only the least discriminating thriller fans.

"Paranormal" ultimately does deliver in a way that "Blair Witch" never did, but its achingly slow buildup is a test not just of an audience's patience but the power of hype surrounding the latest alternative scary movie.

Claustrophobic, tedious sci-fi thriller.

Achieves a certain cinematic distinction by outdoing "Dumb and Dumber" in sheer grossness and detail with its depiction of the unfortunate effects of explosive diarrhea.

Spectacle, a love triangle, heritage settings, bravura acting, witty dialogue, a bittersweet finale: There's something for everyone in Anne Fontaine's Coco Before Chanel.

Few films have so poignantly portrayed a father's relationships with his sons as The Boys Are Back.

It's almost laughably bland and watered-down in its desire to appeal to the widest possible audience. It won't succeed in that goal, but it has enough pizzazz to captivate undemanding tweeners.

Under Tucci's direction, Blind Date careens into tedium as the couple plays out permutations of a blind-date pairing.

One hell of a date movie. A surgical examination of the male psyche based on David Foster Wallace's book and written and directed by John Krasinski, there is plenty of food for thought and argument.

This is a typical Moore oeuvre: funny, often over the top and of dubious documentation, but with strongly made points that leave viewers much to ponder and debate after they walk out of the theater.

Unfortunately, whatever father/daughter, time/memory, music/therapy issues Jaglom is striving to invoke here come across as mostly psychobabble and immaturity.

The whole film, a comedy about crime and mental illness, seems at war with itself.

The splashy animation is well-executed but again a bit monotonous for a full-length feature.

The title is a good indication of this movie's blandness and predictability.

A campy pastiche of horror and high-school movie cliches, the film only rises above standard-issue scare fare by dint of Cody's sneaky sense of humor.

Paris is a bittersweet film containing rare moments of comedy.