This Australian tear-jerker finds more humor than you'd imagine possible in the story of a dying woman getting to know her adult children.

This grim black comedy from Belgium would be unbearable if it wasn't scripted with such wry humor.

The beautiful ice-blue landscapes are really the only reason to sit through this rambling and rather silly first feature by writer-director Sue Clayton.

The script is heavy on platitudes about friendship, but since there isn't a single fully fleshed character in sight, who cares?

This tale may well weave a more compelling spell on the page; onscreen it's simply ponderous.

A tense geopolitical thriller that leaves a curiously bad aftertaste.

More a reflection in a fun-house mirror than a portrait of the artist.

Unfortunately the whole thing is less than the sum of its parts, despite a frequently droll script and a great performance from Shandling.

Points for an interesting concept; demerits for the dull execution.

Is there anything so painful as a comedy whose every gag falls flat and then lies there, flopping like a dying flounder?

Cross an episode of "Friends" with an issue-of-the-week movie about gay parenthood and you have this glossy vanity project.

This picture is just shapeless and shrill. It's disposable, forgettable and aimed at an audience that doesn't care.

Taut psychological thriller.

Sweet-natured and as inconsequential as can be, shored up by smooth, low-key ensemble performances.

Isn't nearly as bad as it might have been.

Shattering in its own quiet way.

Both enjoyably lighthearted and proof that even the most stridently purist approach to filmmaking can produce a cliched romantic comedy.

Maguire and Douglas are extraordinary (though Douglas feels a little old for his role, which seems to have been written for a man in his early 40s); even Downey Jr. delivers a sharp, understated performance.

The plot's preposterous and Affleck is way too callow for a role that would have fit Robert Mitchum like a second-hand suit.

A gentle, offbeat drama that hails the arrival of a new talent in writer-director Eric Mendelsohn, and bids a poignant farewell to a uniquely gifted actress, the late Madeline Kahn.

This handsomely photographed, briskly directed sci-fi fright picture is enjoyable enough on its own limited terms.

Equal parts soap drama and ham-fisted morality tale.

This is essentially a glib soap opera whose main characters are two-dimensional cliches used as clotheslines on which to hang sitcom-level jokes.

A fine, straightforward tribute to a sports giant who faced blatant prejudice and paved away for the likes Jackie Robinson, Hank Aaron and other minorities who dared make a place for themselves as heroes of America's greatest pastime.

Goofy and surprisingly slow-moving.

This is much more than a typically one-dimensional message-movie -- it's obviously the work of a master filmmaker .

First-time filmmaker Ben Younger makes not a single false move when delineating the merciless, high-testosterone world of boiler-room brokerages.

Without question the breeziest viewing experience now available at a multiplex near you.

A creepily unpleasant study of race and class.

Mildly amusing and as obvious as it is good-natured.

You come away from the film wishing her the best, but fearing the worst.

Boyle's movie jettisons much of the telling detail; it has the shambling rhythm of a shaggy dog story and so simplifies the characters' ethical dilemmas that it's hard to care what they do.

The big trouble here is that there seem to be pieces of three different films rubbing up against each other without ever fitting together.

So consistently awful, it's almost entertaining.

An unintentional parody of the kind of overwrought melodrama Pedro Almodovar once reworked to far better effect.

It's got turns, it's got an attractive cast that gets shish-kabobed with ruthless regularity. It's just tired.

A preposterous wilderness adventure (the kind that makes kids think sneaking into the zoo's bear pit is a cool idea) laid over a touchy-feelie story about good parenting.

The film's potshots are perfectly aimed.

The tragedy of modern Tibet haunts this otherwise lighthearted tale of life inside a Buddhist monastery-in-exile.

A brightly colored, picaresque adventure that's equal parts telenovela melodrama and pop-magic realism.

Contains several profanely amusing moments, but they don't add up to much.

As meticulously deranged as its paranoid protagonist.

An imaginatively constructed soap-opera with a high-powered cast.

No one expects a light teen romance to be "Madame Bovary," but this is Colorforms filmmaking.

This sour coming of age story is a testament to his self-centeredness and dogged perseverance.

This big budget mish-mash is almost unbelievably derivative and shockingly cheap looking.

Feels hokey, generic and dated.

Sporadically funny... occasionally very funny.

Like the original "Fantasia's" eight segments, the results are a mixed bag.

The material is inherently compelling and anchored by Washington's performance.

Without offering any hard and fast solutions to the essential mystery, this is a thought provoking drama about the nature of belief and devotion that never feels exclusionary.

Errol Morris' characteristically distanced documentary is empathetic without being especially sympathetic.

Vince and Cesar have been written to evoke equal audience sympathy, so there's no suspense whatsover in the outcome of their climactic match-up, the brutal realism of Shelton's staging notwithstanding.

Much of it is inspired, some of it is downright awful, but it does entertain, even as it threatens to drown its generally fine cast in a flood of blood and sundry body parts.

You don't have to be a Trek weenie to have a good time at this spoof cum homage to fandom and the enduring appeal of cheesy TV, but it helps.

This coolly beautiful film is both a superior thriller and an engrossing study of a sociopath's progress.

Stone handles his huge ensemble cast extremely well.

Parker's adaptation is meticulous, unsentimental, beautifully acted-- but nearly two and a half hours worth of dying babies, rain-spattered streets, ragged children and filthy, bug-infested rooms is a bit oppressive.

Milos Forman's film is a series of incredible simulations that never quite cohere into a movie.

Flawed, but fascinating, this somber adaptation of David Guterson's award-winning novel is sometimes sluggish and difficult to follow, but it's also unexpectedly poetic.

There's very little plot, and director Mangold's attempts to make a connection between the social confusion of the '60s and Susanna's inner turmoil don't really work.

A loving, gently funny and slightly claustrophobic tribute to theatrical life.

This is a smart and splendidly decorated rethinking of Anna Leonowens's famous chronicle

Overall, this is the kind of thing that gives literary adaptations their bad name.

A charming, technically sensational version of E.B. White's children's classic.

This stylized tale of guilt and retribution is a surprisingly sleek and affecting drama.

The play for the heartstrings is so cold and calculated that the movie's sentimentality feels as synthetic as its hero, and the philosophy is simpleminded and lazy.

The sheer size of the production dwarfs the human drama.

Anderson strikes a near flawless balance between looseness and structure, and indulges the occasional flight of cinematic fancy without undermining the movie's emotional integrity.

Actor Tim Roth's austere directing debut is one of the most difficult, emotionally wrenching experiences you're likely to have in a movie theater any time soon.

Hallstrom's leisurely adaptation of John Irving's unconventional coming-of-age novel is so well crafted and intelligent that it feels churlish to point out that it's easier to admire than actually like.

Stunningly cinematic and audacious on every level, writer/director Tim Robbins's look at the collision of the Depression-era art world and politics may well be a masterpiece.

It's painfully corny and surprisingly vulgar, but this embarrassing attempt at a father-son heart-warmer just happens to feature two Hollywood legends, and they're both in terrific form.

Modest, on-the-money performances, which look effortless because they're so meticulously thought out, make the hours fly by.

It's actually a sweet, often very funny story about a schlemiehl redeemed by love.

A torrid and surprisingly cinematic chamber piece.

A scary, intelligent thriller that remains haunting long after it's over...features what has to be one of the creepiest first half-hours in recent film history.

Huston, with a flawless Irish accent, is simply wonderful as the tough, foul-mouthed and very funny Agnes Browne.

Rests on three excellent performances, of which the most difficult is Stephen Rea's.

All the right intentions but never overcomes the essential problem of showing what's going on inside people's heads.

Winslet and Keitel are perfectly matched, go-for-broke actors handed dramatic license to do a psychic striptease.

Affectionate, melancholy and anchored by a well thought-out performance from Sean Penn.

This far more modest production is a much more interesting film (than "Anywhere But Here").

A moving, gorgeously filmed look at one of the Civil War's more obscure chapters, the quasi-official combat that divided friends along the Missouri-Kansas border.

Lacks a sense of bone-chilling dread.

The story is simple enough for young children to follow, and the computer-animated images are both bright and surprisingly complex. Adults won't find the action heart-stopping.

This surprisingly grim comedy-drama is about as good as director Joel Schumacher gets.

Bond spends an awful lot of time being rescued from peril by supporting characters.

A triumph of genre filmmaking.

Classic melodrama given a thoroughly modern, utterly Almodovarian face-lift.

An engaging bit of entertainment.

Levinson brings it all back home to Baltimore and delivers his funniest and most heartfelt film since "Diner."

Where this still vital series was once about what sets us apart, it now seems to be turning towards the things that, in the end, render us all equal.

Say what you will about (Smith's) sense of humor, genuine faith is rare enough in popular culture to make any sighting worthy of note.

Newcomer Cassidy is excellent, and Hoskins gives a flawless performance.

Lacks the real emotional wallop these two fine actresses...seem ready to provide.

This smart spoof of film noir and filmmaking is very clever and riotously funny.

Bresson's vision of the miseries of 15th century life -- which was undeniably nasty, brutish and short -- comes dangerously close to the comic squalor of "Monty Python and the Holy Grail."