Zhang's film is sweet and sentimental nearly to a fault; luckily, he's such a master, you'll hardly notice how shamelessly you're being manipulated.

Ultimately, Dick subordinates scholarship to passion, which may be exactly what it takes to convince mainstream moviegoers that they should care about a system that shortchanges THEM when they go to the movies.

Both a biographical portrait and an exploration of the tradition of Jewish liturgical music in America.

There have been a number of worth documentaries about gender-benders who cross every conceivable line, but Tomer Heymann's film about a group of Filipino cross-dressers living in Israel is a drag doc with a difference.

Leaves you wanting much more.

Funnier than you might imagine.

Barber's screenplay is mired in cliches that got old in 1935.

While changes have been made to the book in the interest of compressing the story and emphasizing certain life lessons, the 33-year-old premise is still perfectly in sync with the sensibilities of preteen boys everywhere.

The film's depiction of life among the salt of the earth is blandly cartoonish; and the "Super Sounds of the '70s" soundtrack meticulously matches songs to action, as though the filmmakers didn't trust viewers to figure out what these one-note characters were feeling.

An unconvincing and uninvolving psychological thriller.

For all its contrivances, the film is cheerfully rude and surprisingly generous to the mothers, most of whom find sizzling new romances at an age when their American counterparts are reduced to sexless dithering or played as humiliating punch lines to jokes about horny old hags.

Only Lynch's over-the-top network executive stands out in this otherwise bland film that tries for satire but neglects to be funny.

The film's opening dedication to Pasolini acknowledges Arslan's debt to Neorealism, but the gritty, documentary style is offset by a charming bit of chalkboard animation that helps lighten the mood considerably.

Scruffy, loosely structured and piercingly perceptive about the ways in which technology that supposedly brings people together actually keeps them apart.

Film works best as a soberly witty commentary on the workplace and makes an interesting companion piece to "Mondays in the Sun."

The whole enterprise has the sweaty sheen that comes from trying too hard to be cool.

If all this were anarchically funny, its shambling idiocy could be forgiven.

This handsome, elegant and restrained fable about love, artifice and power in fin de siecle Vienna is lavishly imagined and yet oddly airless.

The Duffs are certainly cute together, but not even their natural chemistry can enliven all the preachy bits about hard work and the meaning of happiness.

It is fragmented and episodic, and many of Bukowski's best bits are oddly truncated.

The cast, however, is great -- Crudup and Duchovny in particular share a fun chemistry that's just toilet-obsessed enough to be absolutely believable.

The narrative is cluttered with backstory, and the endless digressions overwhelm the efforts of a generally strong cast.

The fine acting and sexy chemistry between Bonham Carter and Eckhart make it work.

To say Wes Craven's rewrite of Kiyoshi Kurosawa's 2001 "Pulse" isn't as bad as it could have been sounds like faint praise, but Kurosawa's "Pulse" is one of the true masterpieces of recent Asian horror, and the track record for Hollywood horror redos isn't great.

This teen drama may be filled with some great-looking dancing, but its hackneyed, predictable script is a giant step in the wrong direction.

One of the most dismal excuses for family entertainment ever perpetrated by a major studio, this crude, lazy variation on Disney's "Sky High" (2005) revolves around the education of four "special" youngsters at the hands of a washed-up superhero.

Superb drama from New York-based filmmakers Ryan Flek and Anna Boden.

An odd blend of recycled American exploitation movie tropes and snarky Euro-art film attitude.