The whole film has a rag-tag, purposefully shambolic feel -- but this communal commitment to a DIY aesthetic is also his undoing, particularly when he allows an irritatingly manic Jack Black to run wild and virtually hijack the movie.

Though extensively fictionalized -- Sorowitch is loosely based on the notorious, larger-than-life forger Salomon Smolianoff; Herzog on SS officer Bernhard Krueger, after whom the operation was named.

Rivette brings a refreshing realism to what could have been a stodgy costume drama, it's still pretty slow going.

At a certain point, its sheer can you top this excess, and credibility files out the window three's no reason to continue paying attention.

What divides opinion is the film's tone: Are those naive, portentous pronouncements about media, voyeurism and the numbing, pornographic allure of atrocity footage a sly reflection of the YouTube generation's boundary-free narcissism and callow youth, or evidence that Romero – never one to underplay a metaphor – has become a hectoring, tin-eared fogey?

Hamburger's earnest effort offers interesting perspectives on Jewish life in South America's most populous city as well as the fate of political dissidents during a particularly dark period of Brazil's recent past.

A lot fresher and bit more sophisticated than the ordinary run of maudlin chick flicks and crude gross-out sex farces that now pass for romantic comedies.

The film LOOKS great, but at a brisk 88 minutes, there's no time to fill in back story, from the epic history of paladin persecution to the deeply personal mystery of David's mother, and the cliffhanger ending is so abrupt that the movie seems bizarrely truncated.

The obvious product of a corporate search for the next great fantasy franchise, this adaptation of the first in a series of popular children's books by the writer-illustrator team of Holly Black and Tony DiTerlizzi is a lump of leaden whimsy.

The stepping is terrific and the climactic sequence, a knowing nod to the infamous Bollywood "wet sari" number, is a knock out. But the united colors of we-can-overcome cuties, predictable class conflicts and sanitized keeping-it-real bluster bring the story's intensely formulaic nature into the.

Aduaka's comprehensive account of an African nightmare covers a lot of important ground, making this flawed film worth seeing.

An unabashed call to action that shines a spotlight on a problem whose intimate medical nature relegated it to the shadows.

A remote, Israeli desert town is the setting for this droll, endearing comedy about an accidental cultural exchange that very quietly says some very important things about contemporary Arab-Israeli relations.

We already knew Hudson and McConaughey weren't exactly Gable and Lombard from their first romantic pairing in "How To Lose A Guy in 10 Days," but director Andy Tennant's complete lack of inventiveness comes as a surprise.

Preposterous, disingenuous, remarkably unfunny and genuinely distasteful.

Little more than a shaggy-dog tale about two hit men killing time in the picturesque, medieval Belgian city of the title, goosed with crackling dialogue and generous dollops of gore.

The end result is an entertaining tour film.

It's not that you can't go home again. It's that you SHOULDN'T, at least not in a lowbrow Hollywood comedy, because your family will inevitably be lewd, crude, loud and obnoxious.

This ambitious independent feature eschews gore in favor of rubber-reality ambiguity.

Character-driven thriller, which plays out against a backdrop of desperation, self-loathing and grinding poverty.

A brisk dramatic comedy that combines melodrama, humor and social critique in equal measure.

It's hard to know who bears the brunt of the blame for The Eye's stunning dullness.

For parents who were unable to secure tickets for the young fans in their households, it's nothing short of a godsend.

This madcap paranormal love triangle is charming on its own terms.

Thoroughly heartfelt. But though Trachtman alludes to the impact that Lior's special needs and local fame has had on his family, she seems uninterested in exploring the larger history of beliefs and traditions concerning mentally challenged people and their closeness to God.

You'd have to be more than merely intoxicated to find anything about this dismal stoner comedy remotely funny. You'd have to be unconscious.

Techine's unwillingness to soften his characters reflects a rare honesty about human nature that's rarely seen in movies, particularly movies about fatal illnesses, and his film is an engaging and particularly French character study.

Portabella has no interest in conventional biography -- it's hard not to suspect that he included the tale of Felix Mendelsson (Daniel Ligorio) discovering the score for the "St. Matthew Passion" wrapping a meat delivery precisely BECAUSE it's probably apocryphal.