Haneke echoes the theme of Hitchcock's "Rear Window": Moviemaking is basically an act of voyeurism. We secretly examine people's lives in every movie. But in this one, there is a hidden camera, a movie within the movie as it were, forcing us to observe a character along side a mysterious stranger.

This wannabe daring comedy about a man who attempts to "fix" the Special Olympics strains for that patented naughty and nice balance with squirmingly squishy results.

Surrealism is one thing, but The Intruder appears so ill defined and random that it ends up looking simply inept.

A textbook example of how not to mess with success, Cheaper by the Dozen 2 is every bit as forced, synthetic, banal and mawkish as the first edition.

While the 1977 Fun With Dick and Jane was a reasonably diverting sendup of conspicuous consumption with a subversive if not always razor-sharp comic edge, the new version... replaces smart performances with tired shtick.

The director has staged the elaborate production in his usual stately but impressive manner, and the production values boast the usual Merchant/Ivory stamp of quality.

Spends too much time on unconvincing romantic-comedy contrivances to be consistently engaging. Throughout the uneven film and its mixed bag of performances, the compelling point of focus is Diane Keaton's smart, funny, spot-on natural portrait of the formidable Stone matriarch.

Jones displays a firm hand at the helm -- you sense that he is well within his comfort zone in this environment -- and performances including his own are lively and convincing.

With her debut, Xiao Jiang has created the Chinese equivalent of "Cinema Paradiso." The Beijing Film Academy graduate's confident first feature is a lovely, elegant paean to the joy and liberty that films offer as a symbol.

The best two performances belong to Uma Thurman and Will Ferrell. For the film to work, though, the two best roles should belong to Tony-winning Nathan Lane and Matthew Broderick in the title roles.

Hoodwinked occupies some considerably shaky turf situated uncomfortably between "Shrek" and dreck.

Ice-bound black comedy boasts strong cast for an indie but can't quite decide what it wants to be.

An oddity as awkward as its title, Angels With Angles is writer-director-star Scott Edmund Lane's would-be valentine to old-school showbiz comics, wrapped in a silly adventure-romance involving Cuban cigars and, yes, Fidel Castro.

The gorilla is great, the girl terrific, sets are out of this world, creatures icky as hell, and the director clearly does not believe in the word "enough."

Beautifully acted and filmed, with the Internet imagery rendered in Pixelvision.

Its observations seem more suited to the op-ed pages of a magazine than the big screen.

Anne Proulx's 1997 short story in the New Yorker has been masterfully expanded by screenwriters Larry McMurtry and Diana Ossana to provide director Lee with his best movie since "Sense and Sensibility" in 1995.

Here is a film about Japan made by Americans, shot mostly in the U.S. and, of course, in English. Once you accept these compromises in the name of international filmmaking, none is a real deterrent to enjoying this lush period film.

An absolute delight from start to finish.

What is lightly sketched in the novel, where much is left to the imagination, blossoms into full-blown, richly detailed life in the movie.

A disturbing supernatural drama that leaves a sour taste in the mouth.

Hopkins' performance flat-out works.

Smultaneously silly, ostentatious and terribly boring.

Impressively realized on all levels, this transgender spin on the road trip boasts an extraordinary central performance.

Snowboarders are given their Dew in this nicely shot but lengthy exercise in corporate branding.

An achingly eloquent rumination.

Rather than connecting all the chronological dots, Brown has fashioned Van Zandt's balm-to-the-brokenhearted legacy into potent cinematic poetry.

The docu is not visually innovative, but the content more than makes up for what it lacks in style.