Some nice scenery, an unexpectedly funny performance by Jodie Foster and a unflaggingly spunky Abigail Breslin make for above average family entertainment.

Smith has changed a few plot points around to keep readers who already know the secret of the ruins guessing, and to some extent the strategy works. There was, however, no reason whatsoever to change the book's perfect endings.

It's all a pretentious bore that feels twice as long as it's two-hour running time.

Scorsese's canny use of archival footage makes it more than a mere concert film.

This small, sweet drama from Chinese director Wang Quang An is picturesque, romantic and unexpectedly droll tale of life in one the world's most remote regions.

Though the material is familiar, Sciamma has a light touch and avoids many teen-movie cliches.

Polished but oddly lifeless heist thriller.

The film's bright spot is Irish comedian Dylan Moran, who plays Libby's charmingly dissolute cousin and who also happens to be Dennis' best friend. He's fresh, unpredictable and genuinely funny -- everything the film isn't.

A predictable moral tale enacted by blandly pretty young things who bear little resemblance to the average brainiac.

How engaging you find this loosely structured road movie will depend on how charming you find the over-aged slackers played by Josh Alexander, who also wrote the screenplay, and Robert Bogue.

The film's 85 minutes drag by painfully slowly, because there's no respite from Chapman's tedious, self-pitying reveries.

Happily, many of the figures spoken about throughout the film are still with us -- Neville is even able to reproduce Patricia Foure's famous group photo with most of its original subjects.

The face may be vaguely familiar, and if the name "Mimi Weddell" doesn't ring a bell it will after you've seen Jyll Johnstone's affectionate documentary portrait of this unstoppable nonagenarian model and actress.

There's a hilarious performance of a "de-fascisized" version of Beethoven's "Ode to Joy," and the soundtrack prominently features an Italian version of the crypto-fascist girl-group classic "I Will Follow Him," a joke Kenneth Anger first made in "Scorpio Rising" that's still funny today.

The lovely Audrey Tautou and sad-eyed Gad Elmaleh are perfectly cast as a gold digger and the poor sap who loves her, but the real star of Pierre Salvadori's larky, Lubitsch-esque farce is France's impossibly chic Cote d'Azure.

It's a richly textured, psychologically acute film that takes an unblinking look at the tattered life of the returning soldier, and it's boosted by two powerful performances from Phillippe and the increasingly impressive Tatum, a former underwear model who has somehow turned into a fine actor.

This abysmal "Spider-Man" satire has more in common with the lamentable spate of "Epic" and "Date Movies" than Zucker and Nielsen's truly funny "Naked Gun" series.

Never the most optimistic of poets, Sokurov does suggest the possibility of dialogue on the individual level, and the hope that by asking difficult questions of one another, these mortal enemies can find answers and reach an understanding everyone can live with.

The cast deliver consistently fine, subtle performances, underscored by Ben Nichols' mournfully melodic guitar score.

A disappointing hodgepodge of rehashed clichés.

Seriously flawed and not for every taste, the film was shot quickly and on the cheap, and is driven by Argento's slurred, scratchy voice and Bette Davis eyes.

Delivers plenty of sharply funny moments.

It's genuinely funny, oddly romantic and surprisingly engaging for what could easily have been an obnoxious vanity project.

The result is a bittersweet trifle one can conceivably fall in love with, and Honore's best film so far.

The crews are perfectly cast for maximum drama.

Markowitz 's low key coming of age/coming out story isn't particularly original, but features subtle performances and a vivid sense of place.

Surprisingly effective supernatural tale in which there's more to fear from the living than the dead.

Faithfull is marvelous: Once notorious for her own escapades, this great-great-niece of Leopold von Sacher-Masoch is no shrinking violet, but she's perfect as a plump, frumpy widow with a huge heart and a hidden talent no one would ever suspect.