A performance film, but sadly the majority of the performers are not the acts that have played at the long-running pop festival over 35 years, but the exhibitionists who make up the crowd.

This silly film does nothing to enhance Taiwanese auteur Tsai Ming-liang's reputation. The acting is below par, the mise-en-scene is clumsy and the structure is lazy.

In this film, everything comes down to the acting. Chris Cooper, one of our finest screen actors, gets inside the mysterious traitor. Ryan Phillippe has just the right gung-ho determination tempered with a touch of naivete as O'Neill. Meanwhile, Laura Linney nails the role of a career agent.

The fantasy-adventure incorporates the novel's magical and emotional elements without overplaying either -- a balance that hasn't always proven easy to maintain in the world of kid-lit adaptation.

All of [Cages's] natural charisma is unable to compensate for the plodding narrative and thin characterizations.

Films about serial killers have become so ubiquitous that they now form a subgenre of the crime movie. Even so, Antibodies, has a bracingly original take on the matter.

Bookending the film is the relationship between Jessica and the grandmother who raised her. This role is delightfully played by Suzanne Flon, who recently died at age 87. The film is dedicated to the veteran actress.

In her brave first feature, Bosnian writer-director Jasmila Zbanic tackles the theme of war's aftermath.

Daddy's Little Girls may be heavy-handed and drearily predictable, but it also should connect with its core audience as solidly as Perry's previous efforts did, even if the drama is frequently just as over the top as its predecessors.

An agreeably loopy romantic comedy that bounces along effortlessly on the genuine chemistry of leads Hugh Grant and Drew Barrymore.

It's all quite a mess, with awkward performances, worse dialogue and a painfully protracted running time conspiring against any chance of enjoyment, even in a so-bad-it's-good guilty pleasure way.

Racially insensitive, politically incorrect and beyond crude.

Anurag Kashyap's Black Friday is a superb and devastating piece of cinema that with justification can be compared favorably to Gillo Pontocorvo's classic "The Battle of Algiers" in its dispassionate yet sweeping journalistic inquiry into cataclysmic social and political events.

Amongst the cardboard-cutout supporting characters, Lauren Graham brings a welcome deadpan sensibility to the overeager proceedings.

A tepid ghost story filled with all the usual things that go bump in the night minus the somewhat crucial element of suspense, this bland effort from Sam Raimi and Rob Tapert's Ghost House Pictures is surprisingly devoid of the creepy, claustrophobic atmospherics that haunt the brothers' Asian work.

Part war drama, part political thriller, part romance -- and wholly uninvolving.

While unlikely to set the documentary market afire, is entertaining enough.

Brainy and balmy.

Heavy-handedness prevails, with the schmaltzy original score as unconvincing as the script. An over-reliance on song, from pop to Puccini to Ellington to hip-hop, doesn't compensate for what's lacking in the storytelling.

Editors Alexis Provost and Beth Gallagher cut back and forth between the talking heads so deftly that you have the illusion that Nader is answering his critics in real time in a very lively debate.

The filmmaker clearly has a gift for incisive characterizations and dialogue, but the overall impact of the vignettes is muted by an overall artificiality.

The lead performers certainly are highly attractive, making this one of the more sensual werewolf pictures in quite a while -- and to their credit, they do manage to keep a straight face throughout. But ultimately, the anemic Blood and Chocolate could have benefited from a little less chocolate and a lot more blood.

A monumentally unfunny time-waster.

While the film bristles with cinematic verve, it also is as second-hand as an antique store.

A beautifully shot (by Oscar-winning cinematographer John Toll) but dramatically empty pursuit picture set in the untamed West.

The laugher about a meek middle manager who finds a life-changing fortune takes a while to hit its stride, but in its best stretches, it offers deliriously spirited farce.

While the 1986 edition was no classic, it's light years better than this update, which naturally opened without being screened for those ultimate villains, the critics.

Combining the influences of Italian neorealism with Dickensian melodrama, Andrei Kravchuk's simultaneously tough-minded and sentimental The Italian is as bracing as it is moving.