Well crafted and acted, Declan Recks' Irish domestic drama Eden, adapted from his own play by Eugene O'Brien, offers an intimate portrait of a husband and wife who have stopped communicating with each other.

Ultimately, the film doesn't succeed in its thematic aspirations, proving yet again that great literature doesn't usually transfer successfully to the screen.

This mildly engaging comedy drama has enough quirky charms to compensate for its rough spots.

How About You is not without its moments of insight, but its emotional arc is a straight line from A to B, a path made all the more obvious by the heart-tugging score.

What's perhaps most fascinating about the film is Boyle's relentless focus on the realities of present-day India as a vehicle for his spectacle and laughs.

Rudd and Scott hail from different universes of movie comedy, but manage together here just fine, particularly since each takes a different path.

JCVD should entertain both movie and action buffs. Van Damme proves once and for all that he's not just a set of glistening pectorals. However, he's still in no danger of being asked to play Hamlet.

Boyne's tale is starkly cautionary, and writer-director Herman handles a difficult topic with great sensitivity, drawing splendid performances from his young actors with David Thewlis and Vera Farmiga and the other grown-ups reliably efficient.

The film gives vivid reality to those photos of disappeared children on milk cartons by letting us peek into the lives of two abducted children subjected to sexual abuse and then prostitution.

Cartoons can get away with being serviceable and skillful without much creativity since they have an endlessly renewing audience. "Mad 2" surfs along on such waves, entertaining youngsters while mildly amusing adults.

Powerful enough to make even the most cynical believe in the ability of ordinary people to induce political change.

This would-be cult film is unlikely to inspire "Rocky Horror"-style devotion.

This contemporary riff on "The Sunshine Boys" generally manages to succeed anyway, thanks to the entertaining performances by Mac and co-star Samuel L. Jackson and its generous doses of raucous humor and sweet soul music.

As ineptly directed by Robby Henson, the violent (but not too graphically so) goings-on are largely incoherent, with matters not helped by subpar performances, laughably inane dialogue and cheap CGI effects.

Without becoming a screed for victims' rights, the riveting film shows how in the face of terrible events a grieving parent is galvanized into activism.

Eden Lake has the trappings of a low-IQ thriller but it's really a contemptible tract feeding the prejudices of the U.K.'s rightwing tabloids that claim the country is overrun by teenagers wielding knives.

Playing somewhat like a juvenile version of "Rosemary's Baby," this inept, incoherent attempt to cash in on young girls who can't buy a ticket to the R-rated "Saw V" (or are too lazy to sneak in) will be out of theaters long before the Halloween pumpkins start to rot.

Splinter is a bad idea, borrowing body parts, as it were, from old horror flicks to genuinely unsatisfying results.

Despite shortcomings and implausibility linked to their roles as written, Rogen and Banks come off with surprising charm and grace.

East meets West in a beguiling, old-fashioned romantic comedy set in today's global economy.

A moody adaptation of the Swedish best-seller about a fateful mortal-vampire romance, Let the Right One In is atypically literate and unexpectedly affecting suspense fare. Complex characters, ominous situations fraught with mortality and the recklessness of youthful ardor create a tense and subtly shaded narrative.

Will mesmerize some and mystify others, while many will be bored silly. It's not a dream, Kaufman says, but it has a dreamlike quality, and those won over by its otherworldly jigsaw puzzle of duplicated characters, multiple environments and shifting time frames will dissect it endlessly.

In Changeling Eastwood continues to probe uncomfortable subjects to depict the individual and even existential struggle to do what is right.

A scintillating drama about pain and healing made with intelligence and compassion.

The film is a misfire, which you feel more acutely given the talents of those involved, including director Rodrigo Garcia ("Nine Lives," "Things You Can Tell Just by Looking at Her") and rising star Anne Hathaway.

By-the-numbers retread.

The stark drama harkens back to Sidney Lumet classics like "Serpico" and "Prince of the City"-filmmaking that went after an unadorned, jagged realism, with acting to match.

The result unfortunately has the blandness of a mediocre TV sitcom.