The musical number that runs during the closing credits funnier than anything that precedes it, which isn't saying much.

Even worse than its hypocrisy, gratuitous homophobia and cheap proselytizing, the movie is dull.

Proof that the US has no monopoly on white-trash humor.

Lee deserves a lot of credit for attempt the same kind of complex story structure Quentin Tarantino made look so easy in "Pulp Fiction": Like Tarantino's interlocking stories, Lee's four segments occur achronologically and come full circle in a neat twist at the very end.

The gritty location shooting, the absence of a soundtrack and the casting of non-professionals in key roles help capture an all-important sense of place with almost documentary precision.

The film is bold stroke that hopes to push Romanian society forward by staring into the dismal failures of its recent past.

It's a bit like a Chinese "Splendor In The Grass."

The film's mix of cheap gags, macabre coming-of-age story, social satire and Cronenbergian body horror is apparently meant to gel into black comedy, but it never quite does.

The thrills are few and the expository dialogue tediously overwhelming in this preachy cautionary tale about getting too big for one's britches.

An efficient but shallow fright show.

The actors -- especially Klein and Bernthal -- deliver startlingly powerful performances.

Once the star of some of the finest movies of the '70s and '80s, Keaton has begun making just this kind of chick-flick comedy with increasing regularity at least since 1996's "The First Wives Club," and it's gotten so she's not even trying to get into character anymore.

Few of China's Sixth Generation filmmakers have turned to their country's explosive economic growth and its attendant upheavals with so sharp an eye and so heavy a heart as Jia Zhang-ke.

Light, formulaic and soft around the middle.

What one interviewee calls a "fog of ambiguity" surrounding what was and wasn't officially authorized shielded superior officers and key members of the Department of Defense -- namely Donald Rumsfeld.

A slack combination of faith-based inspiration and broad 'hood comedy.

Director Uwe Boll sticks with what he knows -- how to turn video games into dull, cheap-looking movies.

It's wholesome fun for the whole family.

It's a serious and well-researched consideration of natural childbearing vs. hospital delivery that explores the larger social conditions and assumptions that shape women's choices.

The result is yet another tired, ultimately incoherent horror movie that undoes the promise of its pretty good premise and potentially interesting story structure with dull scares, sloppy ending and a pair of unconvincing, leaden lead performances.

It's a "Taxi Driver"-inspired odyssey into violence and insanity that runs close to two hours -- a long time to be riding shotgun with a madman.

It's about ordinary people living in the shadow of nagging, day-to-day racism, and about the music that reminds them of what's right with the world rather than what's wrong.

The filmmakers know the tropes of spooky movies: Glowering shadows, squeaking playground equipment, eerie storms and half-glimpsed forms, but the film rests on Rueda's subtle, intense performance, rooted in every half-articulated anxiety that ever gnawed at a parent's brain.

Ambitious, deeply flawed and studded with sequences that achieve pure, majestic greatness.

The film's major draws are R-rated gore and some nice physical effects, proof that a man in a top-of-the-line monster suit can still be more effective than CGI.

Rob Reiner's feel-good tear-jerker, in which dying well is the best revenge, wants to be heartwarming. But first-timer Justin Zackham's screenplay is so stridently formulaic and disingenuous that the film falls flat at every inspirational turn.

Polished, pokey and cloyingly formulaic, Denzel Washington's directing follow-up to "Antwone Fisher" is a Harpo -- as in Oprah spelled backwards -- Production all the way.

The French-language voice cast is first-rate, although the film will also be released in the U.S. in an English-language version featuring Sean Penn, Iggy Pop and Gena Rowlands in addition to Deneuve and Mastroianni.