But in the end it all comes to naught: Tantalyzing though the leads are, the paintings remain elusive.

Repulsion has often been compared to "Psycho," but Polanski's film, rather than presenting a portrait of a psychotic killer from outside, pulls the audience into the crazed individual's mind. (Review of Original Release)

But for those jonesing for a loosely connected string of comedy sketches, heavy on the scatological humor, this is the fix.

If you don't care about the characters, then everything's just a big, dumb joke.

Ejiofor's polished, energetic performance -- including several song-and-dance numbers -- enlivens what's basically comfort food in movie form, but sometimes comfort food is exactly what the doctor ordered.

Inspired by accounts of underage vigilante girls in Japan turning the tables on Internet predators, playwright Brian Nelson's schematic tale of the hunter captured by the game, a queasy blend of exploitation-movie nastiness and blunt moral lesson.

An oddly lifeless affair, though Gretchen Mol's sunny performance almost hauls it out of its doldrums.

The morbid theme notwithstanding, this is by no means a downbeat film, and it ends with the rather hopeful thought that for every disaster there's also a chance for survival.

Ryan Schifrin's first film is a pleasant surprise, an old-fashioned monster movie that relies more on genuine suspense than bare breasts and blood.

Efficient if uninspired documentary.

A fascinating film that also benefits greatly from the stunning scenery of the Tibetan plateau and from a quicksand scene that will leave you gasping.

In different hands and different lands, the same story could easily have been a pretentious bit of "Red Shoe Diaries" piffle. But exceptional performances and the oh-so-Frenchness of the complications instead produce an erotic tale that plays like the best gossipy story you ever heard about people you thought you knew.

Bello is phenomenally good as the embittered Marcia, while Stuart and Christensen do their best with their less complex roles, but they're all undermined by Alfieri's shrill, mannered dialogue and cliched backstories that wouldn't be out of place in a dysfunction-family-of-the-week movie.

Though the performances are surprisingly good - the characters are drawn with a broad brush, but the actors, almost all professional comics, hit all the right notes - the material just isn't funny enough to justify the film's length.

More gripping than anything on Court TV and unexpectedly uplifting.

Smilovic's rapid-fire, Tarantino-esque dialogue is consistently razor-sharp, and the elaborate set design - which leans heavily towards shiny, riotously patterned wallpaper - is an eyeball-jangling blast.

This formulaic mess of sports-movie cliches and self-esteem claptrap contains a couple of funny bits, but you have to slog through a lot of done-to-death bodily function jokes to get to them.

Even Mo'Nique's outsize presence isn't enough to make ancient gags about stuck-up popular girls or about voluptuous vultures clearing a whole buffet table in one fell swoop funny.

Though screenwriter Dianne Houston spent time observing the real-life Dulaine, her screenplay is a showcase for triumph-of-the-underdog sports-movie cliches and coming-of-age-through-adversity moral lessons.

For a film that feels so breezy on the surface, it's a surprisingly complex character study.

As to what happens between shows, well, apparently not a whole hell of a lot. If there are groupies, demolished hotel rooms, midnight payoffs to the vice squad or drug- and alcohol-fueled misbehavior, there's no evidence of it here.

Sharply acted and cheerfully coarse.

Dellal and their cast consistently hit the right notes, and the result is an uplifting tale that you don't have to be embarrassed to enjoy.

Litvak's broad comedy has novelty on its side, and though the script never rises above sitcom-style one-liners and sight gags, strong performances invest both the jokes and the syrupy moments of forgiveness and reconciliation with no small measure of, yes, heart.

Looks great but has a shambolic, off-kilter feel that might not be entirely intentional, and is alternately tedious and shocking.

Unfortunately, the characters feel more like symbols than people, despite strong performances, including what might be Portman's finest work to date.

Zieger's thoroughly researched film is a vital reminder that beginning in the mid-'60s, a few conscience-stricken military individuals -- including dermatologist Dr. Howard Levy, sickened by cynical attempts to win Vietnamese "hearts and minds" through medical treatment, and Navy nurse Susan Schnall, who wore her uniform to a civilian antiwar demonstration -- actively and openly voiced peace sentiments.

Toback quickly reveals himself as an insufferable, opinionated blowhard who pontificates shamelessly about the art of the cinema while indulging his own obsessions on film.