An entertaining road movie with a topical point: The three passengers on this cross-country trip are U.S. soldiers who've just returned from Iraq.

Rios is the glue that holds Johannesson's neither-fish-nor-fowl film together.

There's something disheartening about seeing real-life stories and their inevitable complexities put through the Hollywood sausage machine and transformed into bland parables about a privileged, wayward young bucks redeemed by wise, infinitely patient mentors and the self-abnegating spirit of team sports.

Engrossing documentary about the life and times of publisher Barney Rosset, who spent much of his career advancing the cause of free expression, is a flawless match of style and subject.

It's earnest, well-intentioned and scrupulously even-handed, in the style of made-for-TV problem movies.

Clearly a labor of love and a call to action, but it's undermined by the sheer volume of topics it tackles in addition to the main subject.

In Koepp's comedic variation on a similar theme, the dead are not just unhappy -- they're irritatingly needy.

Much of it will probably go right over the heads of kids who aren't familiar with classic movies or the naughtiness of Eddie Izzard.

It lacks the courage of its swinish convictions, and abruptly acquiesces to bland rom-com clichés three-quarters of the way to its appointed end.

Tediously predictable thriller.

Played for Maverick-like comedy, the film might have coasted on Harris and Mortensen's dialogue. But played straight it's both dull and preposterous.

What the film lacks in artistry it makes up for in commitment.

perfectly serviceable costume drama.

A handsomely produced but unintentionally risible film that mistakes high grotesquerie for high gothic.

The film does, however, assemble an amazing array of recorded conversations and vintage newsreel, and offers up enough press conference footage to make one nostalgic for the days when an uncowed, penetrating press really did serve the public interest, and the president was a smart, inspirational and often very funny figure who could think on his feet and fearlessly take on all comers.

The brothers' dark, all-star farce about sex, lies and surveillance is pretty damned funny.

So consistently, outrageously wrongheaded in every way it's hard to know where to start.

The entire movie is one big build-up to a twist that, while not exactly cheating, plays is an awfully cheap trick.

The movie belongs to the fifth-billed Bishil, a truly gutsy young actress who captures the essence of young female desire in all its adolescent confusion.

Thanks to some first-rate acting from its stars, it ranks among Perry's best.

A morose, slow-moving action picture.

A gripping mystery and an ever-timely reminder of the terrible power of repression and silence.

So awash in tired ethnic clichés that the story drowns.

Has a certain silly, kid-friendly charm.

A solid performance by the often underrated Judith Light lends considerable weight to this melodrama's controversial subject.

At the heart of this picturesque fable is a truism so shopworn it can barely stand repeating: It's better to give than to receive.

Lazy, superficially au courant and utterly forgettable.

An ugly, unfunny frat comedy.