A choppily told tribute to the Apollo astronauts that makes striking use of never-before-seen archival images.

Their stories add up to an unflattering picture of how the U.S. chooses its soldiers.

The biggest surprise in Roman Polanski's Oliver Twist is that there are no surprises.

Instant fodder for drinking games, Dangerous Men is a grand testament to its filmmaker's undeniable passion, tenacity and complete lack of talent.

Leave it to Liev: Schreiber capably adds writer-director to his impressive resume with this winning take on the Jonathan Safran Foer novel.

Gwyneth Paltrow is triumphant in this somewhat derivative and overly stage-bound film.

Fairly competent but hardly engrossing.

A cut above the usual level of slasher films, with its overly convoluted plot enhanced by an impressive level of cinematic style. It also places a greater emphasis on surprising plot twists than gore.

Crossing the life-death divide, Reese Witherspoon and Mark Ruffalo are a winning pair in this smart and tender comedy.

Cage is brilliant.

A wondrous flight of fancy, a stop-motion-animated treat brimming with imaginative characters, evocative sets, sly humor, inspired songs and a genuine whimsy that seldom finds its way into today's movies.

Thumbsucker is a head-scratcher. It's well directed and acted. Yet the story has little emotional pull.

Avoids easy shtick and saccharine conclusions, opting instead for character dynamics that the two leads deliver with consummate skill.

Until the lean script by Baier and Laurent Guido takes some unconvincing turns in the late going, the film is a credible portrait of alienation.

Despite the updated setting and some on-the-money performances, the sleek if dramatically flimsy results make for a less than great "Gatsby."

This misbegotten horror film deserved to go direct to video. Or cable. Or oblivion.

The story presents a moral morass involving betrayal, illicit sex, hypocrisy and a crime, yet the film feels tidy. Only one punch gets thrown, and you sense the perpetrator regrets his action immediately. It is all very British.

A tender and moving drama that deserves wider exposure.

Repellant to look at and fairly inscrutable, the film does at least offer vivid if at times overly broad performances from the three leads.

A promotional video masquerading as a documentary.

Crudely shot and edited, the film is most notable for the strong performances by its two leads.

The result is a powerful, if one-sided, attack on the GM food industry. The film should appeal to audiences with an interest in healthy living.

It's a typically poetic film, rich in powerful imagery, which sees a bitter personal tragedy unfold against the major events of 20th century Greece. Although the director doesn't mine any new ground here, either in terms of style or content, it's still a pleasure to sit through nearly three hours of perfectly controlled, visually evocative filmmaking.

A visually arresting cinematic essay that, unfortunately, makes its points long before its conclusion.

The film is narrated by Kathleen Turner in her inimitable husky style, with the actress receiving a final credit as one of the volunteers at ground zero.

Who knew Samuel L. Jackson and Eugene Levy would make such a dynamic comic duo?

The film never realizes its dramatic potential, choosing to take predictable story paths with obvious characters.

Derrickson's characters are reduced to ciphers in a theological debate. Long wedges of the film are simply a discussion about the relative merits of science and superstition. Carpenter, as the sick girl, puts in the best performance.