A classy and clever French thriller. Jean-Pierre Darroussin's performance as a browbeaten husband is entertaining, and Kahn's script brings wit and imagination to a straightforward story.

The scariest thing about this film is how desperate the makers are to earn a scream.

Benji is back, which is good news for youngsters and pet-loving families. Film lovers perhaps should steer clear, however, as hokey melodrama and sloppy comedy fill the gaps between neat dog tricks.

While the likable Seth Green, Matthew Lillard and Dax Shepard are definitely up to the comic excursion, the picture charts an uncertain course between wild and mild, eventually running aground in a pile of male-bonding muck.

The fifth outing for the slime-dripping, shape-changing creatures, the Aliens are looking a little dogged, perhaps ready for the Alien Retirement Home. Meanwhile, the Predator warriors, who never achieved the artistic heights of their counterpart, look better invisible. When visible, they resemble robotic can openers gone berserk.

Where the first film was something of a teen horror film, the follow-up, again from writer-director Stefan Ruzowitzky, is more of an unintentional comedy.

Director John Curran has masterfully managed to convey flesh and blood within the permutations of the sometimes clinical story. Enhancing the people-next-door nature of this saga were the film's smart technical contributions.

Has the crass look and feel of a 90-minute infomercial.

The results are always visually arresting, while the narrative, even by Maddin standards, is completely out in the ozone.

In the warm, sparkling character comedy Danny Deckchair, the Welsh actor (Rhys Ifans) moves to center stage, but it has taken a trip to Australia to get him there.

Anne Hathaway's charms barely rescue this exercise in lame comedy and romance.

Far too bloody for the art house crowd and too leisurely paced and obscure for more general audiences.

Outfoxed would have benefited from a greater exploration of exactly why Fox News has become so popular and so trusted by its viewers.

Attempts to pass itself off as a fast-paced caper picture doubling as a socially conscious apartheid drama but ends up equally unconvincing in both departments.

Code 46 lacks the visceral power of "28 Days Later," as well as what might be termed its "gross-out" appeal.

A teen comedy that possesses a wickedly satirical streak.

Could develop a cult following. But it is hard to envision repeat viewings or any great number of people willing, even vicariously, to undergo the couple's ordeal.

The movie never really gets below that surface. It sticks to the mean streets of Los Angeles without much introspection or analysis. But those surfaces are slick and beguiling.

Ultimately a powerful portrait of the sort of apocalyptic culture clash that is resulting in an increasingly dangerous and fragmented world.

Festival Express should rightfully take its place in rock history as one of the great performance films of all time.

Although most definitely an acquired taste, the David Lynchian Gozu delivers the goods in dripping, gooey gobs.

Smartly written by William Osborne and Michael McCullers, Thunderbirds expertly targets kids. Yet parents won't be entirely bored.

Unlike "The Sixth Sense," the film's key revelation might be too mild to jolt audiences. Some may even feel cheated.

The film does get claustrophobic. It never quite achieves the balance between a two-character study and a larger world, as did "The Man on the Train." The film also could do with a bit more humor, most of which is supplied by the sagacious shrink.

A blissfully silly, character-driven road movie with impressive laugh-per-minute performance specs.

The updated classic is a chiller of a political thriller in its own right.

Ultimately, the sex scenes seem of far more interest to the filmmakers than the narrative or characterizations, which are rendered in frustratingly vague and often deliberately confusing fashion.

This non-secular variation on "The Usual Suspects" falls prey to a creeping structural rigor mortis that sets in early.