Even though Kinnear is meant to be obvious love interest, it's the relationship between Kate and Angie that becomes the film's central story, making this comedy sweeter -- and more honest in its depiction of class difference -- than one might otherwise expect.

Jackman and McGregor are a delight to watch.

If only the wit weren't overwhelmed by lame jokes about body parts, functions and fluids.

No matter how slick and questionably appropriate Morris's style may be, the content is compelling.

This is Hunt's show, and she delivers a strong performance that captures all the seriousness and absurdity of the avalanche of circumstances that comes crashing down on April's head. To say she's only half the director she is an actress is actually paying her quite a complement.

Intelligent but incomplete-feeling documentary.

May be the best film to date about the humanitarian and environmental impact of China's enormous Three Gorges Dam project.

Dryly funny, deceptively simple road movie that quietly reveals the state of contemporary Romanian life.

A preposterous misfire.

The unfortunate fact is that it's more than a little dull when it isn't preposterous.

Horse lovers and racing enthusiasts are this likable film's obvious audience, but you don't have to care about the Derby to get caught up in the stories of the people and the horses behind the two minutes of glory.

To see the two of them on screen together, even past their primes, is a delight.

This thin premise is better suited to a half-hour sitcom than a feature film (in fact, there's an episode of Frasier with a very similar setup).

It's sad to see such subtle, wrenchingly emotional work expended on such trifling material.

It takes a certain genius to make butchered corpses, sociopathic lunacy and meth-fueled debauchery nerve-scrapingly dull, and German director Marc Schoelermann and screenwriters Mark Neveldine and Brian Taylor (Crank) possess it.

Could as easily be called "Spurlock: Cultural Learnings Of America for Make Benefit Glorious Nation Of America."

On its own low-bar terms, it delivers the goods: pole-dancing, gut-chomping and Jenna J.

It's hard to pinpoint what's most insulting about this obvious propaganda piece.

Hypnotic, culturally pertinent drama.

Formulaic to the core, this reworking of the fondly remembered high-school slasher picture works surprisingly well on its own terms.

A sharp, superbly acted character-driven comedic drama.

There are two kinds of police officers in David Ayers and James Ellroy's convoluted, ultraviolent tale of corruption within the LAPD: dirty cops and dirtier ones.

McCarthy's flawless casting may be the film's greatest strength: Veteran character actor Jenkins and his costars vanish into their characters -- their performances are so subtle and unforced that they don't feel like performances at all.

Atonal romantic comedy.

What it lacks in objectivity, it makes up for in vivid intimacy.

Phil Donahue and Ellen Spiro's powerful documentary takes a microcosmic look at the war and its devastation by focusing on a single casualty.

Not surprisingly, we're left with characters that feel only half sketched and fail to resonate on their own -- but onto which much can be read by Hou's most ardent fans -- in a poetic looking film that's ultimately as inflated and empty as the balloon itself.

Not for all tastes, but produces haunting juxtapositions.