Few films have ever ended on such a low, anti-climatic note as The Zodiac.

This tale of domestic abuse breaks little new stylistic or psychological ground, but it is a searing, well-acted drama that should strike universal chords.

Powerfully moving but laced with incisive wit, Don't Tell has terrific performances with a wise tone and polished look.

Don't Come Knocking expresses itself with deadpan humor, striking imagery, Western iconography and outbursts of strong emotions.

While political and social context is kept to a minimum, the darkly poetic images they capture speak volumes about what the miners go through.

What might have made for an interesting short film lacks the weight to sustain its feature (albeit, brief) length, and even the presence of Mel Gibson, Jim Caviezel (in full bloody Christ mode) and Monica Bellucci is unlikely to attract any but the "Passion" obsessed.

Featuring one-note characterizations, laughable dialogue, an overwrought musical score and technically poor filmmaking values, the film ultimately is utterly reprehensible.

A well-meaning but hopelessly stilted melodrama, Hate Crime sacrifices good intentions with its mediocrity of execution.

Well acted and smartly written, the film is an eye-opening sociological portrait that also manages to be a compelling human drama.

McConaughey and Parker get stranded with thanklessly predictable scenes, while Zooey Deschanel, Kathy Bates and Terry Bradshaw garner the film's few laughs.

This remake of the 1977 Wes Craven cult classic is brutally horrific. And that's a compliment.

A fast-moving Walt Disney Co. comedy that manages to sail past many of the cliches usually found in this genre while throwing together a wild story line more apt for a new millennium.

The film is faithful to the book's tone of dark ache and much of its detail and for the most part terrifically cast. But Towne can't overcome an essential challenge of the material: Arturo and Camilla are constructs and ciphers as much as they are vivid characters -- difficult roles, to be sure. Neither the screenplay nor the actors manage to get far under their skin.

The lovely, unpredictable comedy Duck Season marks the arrival of a fresh talent in writer-director Fernando Eimbcke. His script is vibrant with unforced humanist observations, the performances are natural and endearing.

Inspirationally impaired and dramatically retarded.

Although Evil eventually suffers from its heavy-handed treatment of its subject, it is a well-made and engrossing melodrama.

It attempts to walk the fine line between despair and comedy, reality and imagination, and often succeeds. For audiences prepared to take the leap of faith and accept the unusual tone of the film, Game 6 should be a winner. Others may wonder what the fuss is about.

Has an impressive visual style that reveals its director's music-video experience. Unfortunately, that's about all it has going for it because its sluggish pacing and confusing story line will prevent it from appealing to all but the most rabid J-horror fans.

Although much of the plot defies credulity, Richard Donner directs the odd-couple action drama with a nimble facility that draws viewers in.

A bright and breezy tween fantasy romantic comedy that coasts along on its charming performances and the light comedic touch of first-time feature director Elizabeth Allen.

The word "community" has become a cliche, but this party, both backstage and before the crowd, illustrates a specific sense of cultural community and the singular bliss of standing on a city street in late-summer rain for a once-in-a-lifetime concert.

The latest entry in the "This film is so bad we're not screening it for critics" genre.

Deep Sea 3D, along with the recent Imax films "Coral Reef Adventure" and "Volcanoes of the Deep Sea," is a glorious example of educational entertainment at its best.

With a cast of Scottish, German and French actors all speaking their own language, writer-director Christian Carion has fashioned a deeply moving and uplifting piece.

A romantic and philosophical muddle.

Our Brand Is Crisis well demonstrates the international efficacy of the methods used to twice elect Bill Clinton. Unlike in "The War Room," the charismatic Carville makes but fleeting appearances in this docu, and it suffers as a result.

An audacious, highly contemporary psychological thriller, Sorry,Haters is the kind of audience provoker certain to elicit at least as many haters as admirers.

Brutal but believable, the film in some ways harks back to early Hollywood, when Jimmy Cagney or Richard Widmark played callow villains out of their depth in everyday life.