It's a shocking story, made all the more so by the film's final revelation, an outrageous allegation no one even bothers to deny.

Diehard Sandler fans will probably find it uproarious, but others will have to make do with the occasional chuckle.

Give this Japanese import points for originality, but not much else.

This intermittently charming look at East-meets-West culture shock in contemporary Beijing seriously overreaches its grasp.

Beautifully acted, minutely observed story.

What Garvy's oral history of the Students for a Democratic Society lacks in clarity and opposing viewpoints it makes up for with fascinating personal reminiscences of a turbulent time.

A slow-moving, dramatically slack film.

Overblown, ridiculously contrived drive-in flick.

By the film's big finale, the whole thing has begun to feel distinctly ridiculous.

A little too derivative of much better movies to succeed on its own. However, in the context of recent Chinese movies, it's a pretty amazing piece of work.

You don't have to be a chem-lab wonk to be seduced by the seven scientists who discuss their work and lives in this engaging film.

Suffers from wishy-washiness.

Some brilliant human moments do emerge, and there's nothing wrong with a reminder to live life in harmony, and not to beat yourself up.

(Bassett's) finally been given another part worthy of her talents, and she makes the most of it.

Perhaps more than any war film in recent memory, Kippur is about the actual work of combat.

Thank God for Brooke Shields: Spitting spite with every remark she hurls at her long-suffering mother, she's a revelation.

So inconsequential that it starts evaporating from memory the minute it's over.

Stylized to the point of poetry.

A beautifully acted slice of intersecting lives defined and driven by the business of beauty.

An arty fright flick that's neither artistic nor the least bit scary.

A kitchen-sink realist coming-of-age story in the venerable British tradition, with all the good and bad that entails.

The good news is that Fishburne also stars, and has recruited a talented group of actors to flesh out the cast; the bad news is that no one seems to have been on hand to help out with the rest of film.

That director and co-writer Gurinder Chadha transforms this sitcom material into a lively and charming film about the melting pot at full boil probably owes something to the fact that her own multicultural bona fides are firmly in order.

Amusing and at times uproarious.

Truly in a class by itself.

For all the film's cleverness -- and it's often very clever -- it's as thin as its heroine.

Has a terminal case of the cutes.

A romantic comedy that's trying its damnedest to be cute and endearing and might be more successful if it weren't built on a foundation of barely-concealed misogyny.

It never actually coalesces into a movie.

Ocelot forgoes the razzle-dazzle of 3D, computer-generated animation and turns instead to West African painting, sculpture and fabric for layout, character design and the film's gorgeous color palette.

A moving look at the choices parents make on their children's behalf, and the reasons behind those choices.

Quite enjoyable on its own terms.

This is one of the most infectiously joyous celebrations of musicmaking ever committed to film. See it and be ennobled.

If you've never seen a martial arts movie, this is a great place to start.

Gray doesn't condescend to his outer-borough characters and elicits pitch-perfect performances from his ensemble cast.

Totally daft and a lot of fun.

This labored farce relies on an unpleasant collection of stereotypes for its comic effects, and Janger is a singularly unappealing leading man.

Sweet and sort of cute -- watch and see if it doesn't kind of sneak up on you.

There's no faulting this movie's Capra-esque concept, equal parts optimism and sad recognition of the world's intrinsic harshness, but its manipulative execution may rub you the wrong way.

Rapp's snappy, loquacious and catty script gives the predominantly female ensemble plenty to chew on.

The film is a harmless extension of the skit, aimed at fans and best viewed as a showcase for Meadows's considerable talents.

The story's a bore; its arrhythmic stutter of humor and drama, tension and calm never builds into any coherent emotional arc.

Things take an unexpected turn into far grimmer territory when the wormy Robert finally turns.

There's something surprisingly sweet at the center of this grim prison drama.

An exhilarating, funny and deeply sad story of growing pains that works on two levels; it's a feel-good story that quietly undermines the notion of gain without loss.

Unfortunately, Flicker wasn't able to rise above the limitations of his microbudget, and his message is compromised by student-film production values and performances that range from adequate to pretty awful.

A fascinating, often tragic history of a program the Soviet Union held up to the rest of the world as communism's ultimate technological achievement.

Contains some nicely observed moments, but they're buried in an unrepentantly sitcomy script.

Muddled tale of demonic hijinks and devil worship. It's terrible.

For all its harsh realism, the film flows like a dream, albeit a highly unpleasant one.

A moody, beautifully acted character piece.

This smart political thriller gets pulses pounding with no pyrotechnics and only one car crash. And it's a doozy.

Shot in shades of steely gray and streaked with near-constant rain, this gloomy revenge thriller is a sadistic cartoon.

Bighearted and wistful, but with no fresh spin or anything new to say.

All the segments are technically polished, but none offers much substance.

Builds so gradually you probably won't realize it's a near-masterpiece until it's over, but there are hints along the way.

A well-crafted potboiler from start to finish.

A hyperactive hodgepodge.

This is less a movie than a lecture. Perhaps Lee simply should have made a documentary.

The gross-out factor is surprisingly low, and the combination of Stiller and De Niro is inspired.

Aronofsky has given us a well-acted, gorgeously overwrought and luridly entertaining exploitation flick -- a midnight movie for future generations.

Clichés negate bona fides; hence, the movie feels like a corny Mickey Rooney/Judy Garland vehicle with cussing. That said, the tapping is fabulous.

Director/co-writer/co-producer Jon Gunn's Christian agenda is evident without being intolerably sanctimonious, and he's a competent filmmaker who shows sign of having a little style.

Though more coherent than the disastrous Hellraiser: Bloodline, this psychological thriller with demons gets bogged down in too many "Is it real or just a nightmare?" sequences, and Sheffer's typically wooden performance as Joe makes it hard to sympathize with his travails.

Kusama's impressive feature debut is an affecting coming-of-age drama whose story is familiar without being hackneyed.

A reasonably entertaining way to kill an hour and a half.

This mix of sweat and uplift in the Civil Rights era doesn't quite come off, despite some strong performances and the fact that it's based on a genuinely inspirational true story.

Sally Field has actually made a likeable movie.

For the first time anywhere, filmmaking brothers Craig and Damon Foster capture this rare event as it happens, and it's something to see.

Blue-ribbon acting from both the four- and two-legged performers.

A lovely soundtrack by Irish balladeers the Saw Doctors can't make up for the rest of this belabored labor of love.

Has the dubious appeal of a preachy "Afterschool Special."

A very funny superhero spoof.

While the cast and songs are top notch, the predictability of the madness makes it pretty clear that this musical shouldn't have left the stage

Preposterous plotting and interchangeable young actors.

Bright, bubbly and thoroughly inconsequential.

Simply exhausting; it wants to be funny and sad and lighthearted and serious all at once.

Aside from Bjork's astonishing performance, it's a grim tragedy that's deliberately drab and exceedingly painful to watch.

Can a adorable, freckle-faced four-year-old save an entire movie? Sadly no.

What's amazing is how much first-time director Ganatra and cowriter Susan Carnival get right.

Part documentary, part one-woman quick-change show and part sociological investigation, this is enthralling theater with a purpose.

Enthralling, darkly funny, horrifying and hopeful.

Not even the high-caliber talents of Gene Hackman and Morgan Freeman can save this stagy, ridiculously over-baked psychological thriller.

The stripped-down production give a disturbing sense of immediacy to an otherwise fairly conventional story about boys being prepared for war.

A protracted piece of whimsy.

Filled with long, obviously improvised pseudo-philosophical ramblings about nothing -- and that's before the drugs kick in.

A modest but well-done film with a little something for everyone.

What could easily have been a dry, didactic film is granted unusual power by Cantet's cast, all of whom seem to innately understand the personal nature of Cantet's subject.

This film's splendid visuals suit the subject, Spain's greatest painter, but its stilted dramatics are wholly at odds with Francisco de Goya's tumultuous life and times.

Both informative and intensely moving.

There's nothing hugely original going on here, but as twisty-turny crime thrillers go, this one is perfectly entertaining.

Utterly amateurish.

Melodramatic look at alienated California high school students.

Foxx is a charmer, and he makes Alvin's unlikely evolution from relentless hustler to reasonably solid citizen believable, and even rather touching.

If this were a more mainstream film with a shot at a wider audience, we'd probably be talking Oscar nominations for Futterman and Ball.

Sad, leisurely road picture.

This soft, formulaic comedy/drama has a far better cast than it deserves, and they work their hearts out trying to bring life to a cliched script.

Evokes feelings of fascination and heartbreak, as well as a sense of disbelief.