Most of the gags recycle the same tired old romantic comedy schtick, with special effects.

Features more than enough thrilling wirework, slow and agonizing deaths, and blood-spattered faces to please even the most discriminating fans of the genre.

Although the film contains a subtle antiwar message, it's not necessary to look for any rhyme or reason in the script; just enjoy all the derring-do.

Apocalyptic carnal horror with a strong Alejandro Jodorworsky vibe.

It took a century of innovation in the field of cinematic special effects, but finally the head of Marlon Wayans could be successfully grafted onto the body of a baby.

Owen Wilson single-handedly hauls this amiable, middle-of-the-road comedy out of sheer mediocrity.

While incontrovertibly light compared to contemporary master of melodrama Andre Techine's best work, this 2005 romance is best enjoyed as the welcome reunion of two of French cinema's most beloved stars.

Leguizamo deserves real kudos for making what he does of T.C., who is the film's walking lesson in how to undermine elitist clichés about working-class Long Island.

Pitch-black and bound to offend anyone who's not on its wavelength, Nick Guthe's entertainingly slick debut is a mordantly funny slice of lust, crime and sleaze life set in the world of L.A.'s industry elite: Call it 9021-noir.

Falls disappointing short of its ambition to be both sympathetically straightforward and funny.

The film rests entirely on Poupaud's shoulders, and he rises to the demands of a complex, deeply unsympathetic role.

Written in the aftermath of a bitter divorce, Mamet's paranoid rant -- an explosion of middle-aged, white-collar, white-men's rage at losing ground to everyone, from women, hustlers, African Americans and homosexuals to the younger generation nipping at their heels -- is as bilious as ever, but time has overtaken and defanged it.

Patrice Chereau's portrait of a marriage en crise is an excoriating look at the deep unhappiness that can fester within the most respectable-seeming of households.

The overriding themes of the film are never broadly stated but are subtly revealed, and the horror and reality of war are quietly played out on both the human and panoramic levels with disturbing effect.

You can't beat on Dead Man's on value-for-money terms, but it's like an all-you-can-eat buffet -- everything's tasty, the surfeit is sickening.

But transforming full, live-action performances into quavering cartoons isn't inherently lyrical, and here it produces the jittery sense of a world dissolving into flat forms and buzzing prattle.

We're more likely to snicker at this marauding monster than scream.

Director Laurent Cantet's fourth feature abandons the contentious French workplaces of "Human Resources" and "Time Out" for sunnier climes, but this Haitian idyll is an equally excoriating look at labor and exploitation.

Taking its title from a key track by the NYC noise band Sonic Youth, S.A. Crary's documentary about No Wave music and its paradoxical influence is both a history of music that sought to defy history and a sharp look at the crisis of innovation in an age of commodified nostalgia.

Crowder and Dower's film is a refreshing reminder that without Ross and the Erteguns, pundits would have had to coin an entirely different term to describe "soccer moms," since without the Cosmos' brief and shining moment in the sun, suburban soccer leagues would be as rare as collegiate boccie tournaments.

Briskly directed by "Sex and the City" veteran David Frankel, the movie is far better than the source.

Attempts at balance through interviews with unidentified U.S. soldiers is halfhearted at best. In the end, Berends sacrifices coherence for the sake of a story he's determined to tell, rather than focusing on the one that's practically telling itself.

Miike's goofy, gallant, action-packed fantasy deserves to become a classic family film.

Don't hate him because he's beautiful, decent, awesomely powerful, modest and just plain good. That's the big blue Boy Scout package - take it or leave it.

Kang's marvelously assured feature debut is a subtle adaptation of Ed Lin's acclaimed novel "Waylaid."

Winner of the John Cassavetes Award for Best Feature Under $500K at the 2006 Independent Spirit Awards, Henry's film is beautifully shot and extraordinarily well acted by Williams.

When it comes right down to it, there are two kinds of people in this world: Those who despised Comedy Central's notorious series Strangers with Candy as the rudest, crudest and most offensive show ever to appear on television, and those who loved it for those very reasons.

Impassioned, unwieldy and padded with celebrity interviews.