Boursinhac and Bibi Naceri throw all the usual elements into the pot: Economic inequality, ethnic tensions, feverish family ties and the titular criminal code, which everyone invokes and everyone agrees is a load of claptrap.

Orenna, Thornton and Belton deliver strong, surprisingly subtle performances that make the modest fireworks genuinely engaging.

A grim meditation on faith and betrayal that focuses on a relatively obscure corner of Holocaust history: the fate of the Catholic clergy under the Third Reich.

Intrigue comes in epic proportions in this US versus Russia arctic battle.

While this cheerful film has nothing particularly new to say about the ties that hold family members together even when they're driving each other crazy, it's a pleasure to watch such a talented ensemble at work.

Takashi Miike's frenetic comic yakuza thriller embodies the best and worst this notorious Japanese genre auteur has to offer: It's endlessly inventive, consistently intelligent and sickeningly savage.

Hugely entertaining.

Dowdy and thin.

Director Andrew Davis (THE FUGITIVE) punches out the action sequences with frightening efficiency, and The Fugitive Guy keeps things moving -- so fast, in fact, that it's easy to get lost in the tangle of conflicting conspiracies. The whole breathless business feels as though it should be over about 15 minutes before it is.

This humorous, lively, and entertaining picture could be described as a caper film set against a WW II backdrop.

For most of its running time, this lunatic euro-thriller is creepy, stylish and occasionally suspenseful.

Basically a one-joke film, but the joke is a good one.

It's notoriously difficult to balance lighthearted humor with the spookiness a good ghost story requires, but director Rob Minkoff is surprisingly successful, delivering a satisfying mix of laughs and mild scares aimed at a young audience.

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

LaBeouf somehow manages to turn Kelly's self-centered behavior and irritating character quirks into a sympathetic lead, and the well-written script by newcomer Erica Beeney brings a lot of humor to some very touching moments.

Breezy and eminently watchable.

A huge hit in France, this ensemble drama revolves around two very different social groups whose encounters with each other change several lives in surprising ways.

Director Curtis Hanson keeps the hugely complicated story zooming along the boulevard of broken dreams without losing sight of the details that make the trip worthwhile.

The film delivers what it promises: A look at the "wild ride" that ensues when brash young men set out to conquer the online world with laptops, cell phones and sketchy business plans.

Neither Parker nor Donovan is a typical romantic lead, but they bring a fresh, quirky charm to the formula. Nor are their characters typical meet-cute types: David and Toni are imperfect people who are some how perfect for each other.

Beauchamp reconstructs the actual crime with disturbing immediacy, and his treatment of how Till's death galvanized a country makes this short film a good way to commemorate the 50th anniversary of a crime that still has the power to outrage.

Caustic and despairing, Shrader's film lacks the delicate beauty of Atom Agoyan's "Sweet Hereafter," but has just as much bitter power.

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.

Excellent performances from Sarah Polley and Deborah Harry, and a sensitive script from writer-director Isabel Coixet transform what might otherwise have been little more than a disease-of-the-week cable melodrama.

Until the patently preposterous finale (you can just hear the studio suits saying, "Ya gotta make it big"), the miserable perils faced by the damp, sooty, squabbling motorists are claustrophobically convincing, assuming you accept in the first place that they escaped a fireball that looks as though it should have fried every living thing between the New Jersey and Manhattan shores.

Good acting and careful direction by Becker make it worth seeing, but the violence and the language may be too graphic for some tastes.

By focusing on one period in his life, this film chronicles the bulk of Kinsey's experiences while barely scratching the surface of his personality.

Though Hearst is the hook, Stone's unwavering focus is on the heady mix of social and personal dynamics that spawned the SLA.