The film's Italian director does achieve in his second American outing a pleasing blend of Hollywood professional sheen and European sensitivity to character details and nuances.

Carrey's most satisfying live-action effort since "Eternal Sunshine of the Spotless Mind."

Bolstered by a career-best performance from Mickey Rourke and outstanding work by Marisa Tomei and Evan Rachel Wood.

A typically intelligent if occasionally overwritten political thriller, boasting a powerhouse cast.

Presented as a straight documentary about an American pop singer who had one U.K. hit in the 1960s as a member of a boy band and has gone missing ever since, but it plays like the slyest of spoofs.

Eastwood has always had the gift for comedy in his acting repertoire, but he indulges in it only rarely. His fans might embrace this return to comedy.

If this earnest, two-part biopic with a total running time of 268 minutes sometimes lacks cinematic flair, the straight-ahead, chronologically-driven film will inform and, to a somewhat lesser extent, excite viewers everywhere.

As a whole, the picture is, frustratingly, always much more about structure than substance.

Despite the best efforts of stars Keanu Reeves and Jennifer Connelly, this new "Day" is tired and corny.

The film is nothing if not provocative.

The situations tend toward contrivance, but the atmosphere is easygoing and the actors seem relaxed even when everyone at the family table is yelling.

The madness of Holocaust survivors is here played mainly for dark comedy. The film's dazzling central performance in a mental institute finds Jeff Goldblum in the role of his career.

With Mark Ruffalo and Ethan Hawke registering personal bests in the performance category as well as playing magnificently and ultraconvincingly off each other, What Doesn't Kill You, a true story that is powerful and completely riveting from beginning to end.

An engaging period drama. But German postwar guilt is not the most winning subject matter for the holiday season.

Michelle Williams does her best but she cannot prevent Kelly Reichardt's Wendy and Lucy, a weak tale about being broke and on the road in rural America, from dwindling into boredom.

Trite, grim and feebly provocative.

In watching this film, it's best not to worry much about the film's fidelity to history but rather simply lean back and enjoy one great jam session on film.

Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.

So unrelentingly violent that all but teen boys might as well stay home.

Less a political movie than a boxing film without the gloves.

Much has been made of supermodel Gemma Ward's doll-like features, but there's nothing plastic about her debut performance in the charming Australian indie The Black Balloon.

Bad enough to create one of the most joyless Christmas movies ever, but then to go for an unearned feel-good ending adds insult to injury.

The film is superbly crafted, covering huge amounts of time, people and the zeitgeist without a moment of lapsed energy or inattention to detail.

Easily the worst in a trilogy that has been notable mainly for the presence of its everyman action star, Transporter 3 is a nonsensical, choppily edited bore, with awful dialogue.

An underwhelming vampire romance long on camp but short on emotional insight

There's a terrific tenderness in Travolta's performance, while Cyrus and company are similarly effective.

The film is effective in its intimate moments as well as its violent set pieces, and it could attract audiences, primarily because of Spacek's superb performance.

Defies all but the most cynical not to get carried away by the force of its grandiose imagery and storytelling.