Though impressively ambitious and making the most of a small budget and talented cast, director Ari Taub's feature concentrates so intently on the day-to-day minutiae of infantry life on World War II's European front that the bigger picture gets lost.

The cast is quite good. Richardson is so compelling as Hearst that she manages to transcend the mishandled material and create a character that's much more real and stimulating than one might otherwise have imagined.

Raunchy without ever devolving into flat-out prurience, Berger's oddly sweet comedy perfectly captures the naivete of the era and the unexpected wholesomeness of some of its adult entertainment.

Trapped uncomfortably between its higher aspirations and the demands of genre, this picture never quite gets its bearings, but it's still a solid ride.

A huge hit in France, Michel Hazanavicius' straight-faced spy spoof unleashes a French operative of incomparable incompetence on the volatile Middle East of 1955.

Blanchett's quietly radiant performance anchors even the most outrageous plot developments, and she's well-supported on all sides.

Songwriter Jack Johnson's collection of laid-back, sunshine pop tunes unobtrusively support the sweet and surprisingly touching story line, rather than the other way around.

While the deliberately amateurish, stilted acting seems at odds with the fruity dialogue, Maddin's intention is to subdue every aspect of his peculiar dreamscape; acting, decor, costuming, cinematography and sound recording remain equal components. No one element predominates or upsets the director's carefully controlled chaos.

Kaufman tries to project a kind of professorial sobriety, hoping his film will seem classy and serious instead of raunchy. We think it could've used more raunch, and we're sure Henry Miller (whose favorite film was L'AGE D'OR) would have agreed.

Although it definitely falls short of The Deer Hunter or Apocalypse Now, the film is not without interest.

Throughout, Pacino absolutely nails the hollow but overpowering charisma that is so easily mistaken for leadership; anyone whose heart has ever been broken by a politician will recognize it at once.

But there's a vaguely self-congratulatory tone to the screenplay that's a bit off-putting.

A rare sequel that's better than the original.

It's Norton who makes the film such an enlightening experience, and he's mesmerizing.

Casting Caine as Austin's father is a stroke of pure genius.

A sweet and surprisingly unconventional look at the changing definition of family in contemporary Japan.

By recreating things too well, the film itself becomes as boring, indulgent and over-stuffed as its hero.

The film is both fun and frightening, and can also be viewed (however modest its intentions) as a commercialized techno-version of Franz Kafka's allegory Metamorphosis.

The fine acting and sexy chemistry between Bonham Carter and Eckhart make it work.

An impressive parade of scientists, meteorologists and grassroots activists assert that humanity is capable of adapting to a changing climate, building sustainable communities without sacrificing modern-day comforts and even reversing some of the damage already done.

Newman's performance is unquestionably the best thing about this brutal portrait of humanity.

The film cannot compare with John Ford's masterpiece about coal miners, How Green Was My Valley. However, it does offer some memorable moments of quality and passion.

Works best as an illustration of the way conspiracy theories serve to weave threads of order, however fantastic, during moments of incomprehensible upheaval.

Dellal and their cast consistently hit the right notes, and the result is an uplifting tale that you don't have to be embarrassed to enjoy.

The down-to-earth portrayals possess none of the stereotypes popular in media representations of prostitutes, and, as a result, are frighteningly realistic. A film with an interesting and provocative feminist edge.

This is a doggedly eccentric film which some will reject out of hand. Others will find it profoundly moving and life affirming.

Television director David Von Ancken's metaphorical revenge Western wears its influences on its sleeve, but adds nothing to the genre that hasn't already been explored in the quietly demythologizing films of Anthony Mann and Budd Boetticher, the baroque, operatic Italian Westerns of Sergio Leone and his less-familiar peers, and even in Sam Fuller's deranged, post-Civil War psychodrama "Run of the Arrow"(1956).

All in all, a fine example of what a sense of humor can do with a low budget and an old idea.