Jim Brown and Gary Burns hang a powerful antisuburban diatribe in the form of statistics, expert opinions and pictures worth a thousand words on the experiences of the Moss family.

A ludicrous foray into psychological horror.

It's almost three hours long, and that's a lot of time to invest in what is, essentially, a theme-park attraction you can't ride.

Compelling on a personal level.

There's always been a wide streak of the tediously naughty little boy in Besson, and all the seductively stylized images in the world can't hide it.

Sicilian-born filmmaker Emanuele Crialese takes a huge leap forward from his pretty but simplistic "Respiro" with this highly original, startlingly beautiful and emotionally resonant film.

It's a great place to visit, even if you wouldn't want to live there.

In the end, Haar's powerful and terribly sad film speaks volumes, not just about life in contemporary Israel, but in the U.S. as well.

Cynical, misanthropic and embittered.

Ukraine-born, American-based filmmaker Andrei Zagdansky's deeply frustrating "documentary essay" examines the Orange Revolution.

It's both very funny and very scary, and never descends to the level of spoof.

The real trouble is that the filmmakers consistently choose gags over character.

Grabsky's meticulous and frequently monotonous documentary about the life and music of Wolfgang Amadeus Mozart comes to vivid life whenever one of the many world-class musicians who sat for interviews simultaneously describes and demonstrates exactly what's so special about particular compositions.

Clever, fast-paced and surprisingly moving.

Baldwin dominates the screen with his slick, beefy swagger, and if Prinze is less than convincing as a kid from Brooklyn, Caan and Ferrara nail Carmine and Bobby with such assured economy that it hardly matters they're one-note roles.

Despite a terribly conceived coda, Luke and his brothers have mostly succeeded, thanks in large part to sharp dialogue, a solid vintage soundtrack (Rick Nelson's "Garden Party" features prominently) and some great older actors -- Cassel is a particular standout -- from the heyday of American cinema.

A high-profile cast can't save this multi-narrative drama about gambling addiction from its wildly uneven tone, which veers from high melodrama to hard-boiled pastiche so overwrought that it's unintentionally funny.

With very little dialogue and lingering shots of the landscape -- always a very important visual trope in Dumont's deep-psyche explorations -- the film is nevertheless tighter and, clocking in at under 90 minutes, relatively brief.

Lafosse's razor sharp dissection of relationships strained to the breaking point is hypnotic in a road-accident kind of way.

Once again brushing aside critical drubbings and public indifference, determined independent auteur Henry Jaglom follows up the abysmal "Let's Go Shopping" with something far better: an old-school Hollywood cautionary tale about -- what else? -- Hollywood.

The result is a little bit nutty and pretty entertaining in a thoroughly unconvincing way. And watch out for that 11th-hour twist -- it's a head snapper.

Veers regularly into disease-of-the-week territory but is rescued by the powerhouse performances of Ken Watanabe (who was instrumental in getting the film made) and Kanako Higuchi.

Overall, it's an interesting experiment, but the idea is stronger than the end result.

Focusing strictly on stripped-down performances of great music and the charming chemistry between the two leads, it's a perfectly realized yet unassuming movie that deserves to find a big audience.

Braff and Bateman have a good, darkly comic chemistry, but there aren't nearly enough moments like the brutally funny, "Murderball"-style wheelchair basketball game to sustain the entire film.

28 Weeks Later is flawed -- the constant reappearance of one key character verges on the absurd -- but it knows where it's going, and it gets there in a chilling blaze of fire, blood and poisonous fog.

Overall the movie is too stupid to offend any but the most sensitive viewer.

Spin it however they like, the troubled but talented Lohan isn't what's wrong with this misbegotten mess.