The original English scripts certainly were peppered with sly, topical asides aimed squarely at adults. Paul Bassett Davies' updated screenplay attempts to follow suit, but what passes for topical these days is pretty much limited to industry inside jokes and constant allusions other movies. Thankfully, the animation itself is thoroughly inspired.

Too long and its tone is disconcertingly uneven, but Perry never betrays or condescends to his characters.

It's way too violent and perversely excessive for many tastes, but there's more to its outrages than meets the eye, and that second look is well worth taking.

Desperate-to-shock slice of sleaze life.

The film's title refers both to tiny, fish-shaped vials of liquid heroin and the small fry flitting around the edges of the urban drug scene.

Cushioned by money - which frees him from needing to work and allows him to fly around the world looking for his past - Bruce is attractive and well-spoken but not especially interesting, which leaves a yawning void at the story's center.

Rae's 80-minute film isn't able to answer every question or flesh out important details of these events, and she spends more time on Trudell's artistic endeavors than on his direct political action.

Besides its exhilarating style, the well-acted film works as an effective translation of the classic Greek myth into a Brazilian romance. (Review of Original Release)

Kor's intentions are beyond reproach, but her campaign raises discomfiting questions.

It's a fascinating film, simultaneously enthralling, infuriating and guaranteed to make viewers ask how such a perversion of the political process could be taking place in America.

The choice is yours: Shell out 10 bucks for this dire spoof of recent romantic comedies a la "Scary Movie" and "Not Another Teen Movie", or toss your 12-year-old nephew a quarter and get him to act out scenes from his favorite movies for 80 minutes: The entertainment value will be about the same.

Eight magnificent sled dogs must fend for themselves amid Antarctica's frozen wastes in this top-notch survival adventure that will reduce the coldest heart to a puddle of warm slush.

Hugely ambitious and driven by Julianne Moore, Samuel L. Jackson and Edie Falco's fine, intense performances, Richard Price's adaptation of his own sprawling novel about a racially charged kidnapping that turns a volatile New Jersey town into a powder keg tries to tell too many stories in too little time.

Simultaneously shocking and deeply religious, Carlos Reygadas' follow-up to his acclaimed 2002 debut, "Japon," tells the story of one man's battle for spiritual redemption through a series of explicit images rarely seen by even the most jaded art-house audiences.

Although this first chapter in a three-part tale is inevitably overburdened with back story, it ends on one hell of a cliff-hanger.

As a film, it is earnest, cliched, often awkward and unlikely to inspire anyone who isn't already thoroughly sold on its message of salvation through community activism.

The film is a shattering experience fueled by Jentsch's electrifying performance.

Rapp's theatrical past is evident throughout: His strongest scenes tend to be those purely character-driven moments when his sharp dialogue takes precedence over any cinematic action. Harris gives another strong performance and Ferrell is great in a comic but low-key role, but this is Deschanel's movie.

Yugoslavian-born writer-producer-director-editor Vladan Nikolic weaves together the intersecting stories of lost souls who bring their international miseries to New York in this cool, cynical thriller.

Provocative, deeply unsettling mockumentary.

Songwriter Jack Johnson's collection of laid-back, sunshine pop tunes unobtrusively support the sweet and surprisingly touching story line, rather than the other way around.

The downtime between deaths has never been duller, and the Rube Goldberg-type death scenes are so poorly staged that it's difficult to figure out what's about to happen and to whom.

The charismatic Rajskub, who played a prickly computer geek on TV's "24," has nothing to do as Jack's loyal secretary.

Sacre bleu! Bumbling French police inspector Jacques Clouseau is back, and he's never been less funny.

The film delivers lots of high-pitched hysteria but never manages to make its spoiled protagonists interesting.

A bracing cover of Ian Tyson's "Four Strong Winds," performed by no fewer than seven acoustic guitars, rounds out the set, but be sure to stick around for the credits.

It's a pleasure to see the articulate, disciplined Telfair succeed where so many other young men have failed, but ultimately his path to success is so smoothly upbeat that there isn't much urgency to it.

Amazingly, not all of the witty and wise barbs are Wilde's, and any confusion between the old and the new is probably the highest compliment one could possibly pay to screenwriter Howard Himelstein's tart screenplay.