Not only doesn't provide any real information, it barely manages to convey why we should care. It represents a true squandering of a potentially fascinating subject.

Despite the fact there's no lack of raw material, Bukowski fails to place its subject's actions and statements in any psychological or literary context. It's simply a celebration of Bukowski's misogyny and self-abuse.

Starts out as an exuberant romp but soon gets trapped in a holding pattern of dumb sex and toilet jokes.

This comedic jape delivers some sharp jabs at obvious targets, namely the boosterish excesses of American religiosity.

One of the best looks at a period in American film to be seen in a long, long while. BaadAsssss Cinema has meat on its bones and analysis in its soul.

Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods.

A dysfunctional drama.

In this enjoyable if trivial battle between von Trier's psychodrama theatricality and Leth's cool formalism, it's ultimately the viewer who comes out the winner.

Marshall's predilection for romantic fairy tales is much in evidence, though the comedy registers in a lower key than it did in such hits as "Pretty Woman" and "Runaway Bride."

Comes across as Almodovar lite, but the film, from director-screenwriters Ines Paris and Daniela Fejerman, offers some pleasures along the way, including an engaging performance by Leonor Watling ("Talk to Her").

Taking satiric aim at a familiar target, conformity, Australian playwright Tony McNamara's film debut is by turns incisive and broad.

The finely observed moments in Stateside accumulate little emotional power. The promise of something startling and compelling goes unfulfilled, and the arc of the central love story isn't interesting enough to sustain the drama.

Despite the sterling performances by the two main actors, the movie tends to lose pace in the second half and needs more secondary characters. But for a first time in the director's chair, Samuell shows a deftness of touch that bodes well for the future.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

Even more egregious than the film's concept is its execution, as it somehow manages to make scenes of drug addiction, hustling and even brotherly incest quite tedious.

Reunites one of the best voice casts ever for an animated film to create a shrewd entertainment that again successfully aims its jokes at various age groups.

All too ironically titled as it details in lethargic and sometimes convoluted fashion the stories of the many heroic and often unsung figures involved.

The movie observes and dramatizes, yet seeks no overriding social moral.

Jamie Foxx finds his funny bone is firmly intact in the effervescent, urban-flavored romantic comedy Breakin' all the Rules.

Should please art house buffs across the board. Connoisseurs of Chinese film will be pleased to discover that Tian's meticulous talent has not withered during his enforced hiatus. Moviegoers who like their visions of China rarefied and past tense will delight in the careful period setting.

Plenty of salient points to make in this satirical cautionary tale, there's still not enough to sustain the expanded running time.

What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance.

In Jarmusch's capable hands, the mundane has never been so delightful.

A protracted and uninvolving affair in which men battle over issues that audiences may struggle to find compelling, and no central figure emerges to take command of the film.

A complete wipeout.

With charm to spare, Valentin fuses nostalgia and humor in an episodic story whose ultimate focus is the birth of a writer.

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

The results are as entertaining as they are sobering.