Wahlberg, whose Bobby is the kind of guy who enters a room gun first, swinging a can of a gasoline, is the glue that holds everything together; he's perfectly cast and has never given a more persuasive performance.

This is a creditable but disappointingly draggy war epic. It should sizzle like a fuse, but instead plods along with methodical deliberation.

The strong cast keeps the material from descending into sheer smutty tripe, but it's an uphill battle and in the end, not really worth their considerable efforts.

Would be funny if it weren't so horrifying.

A rapt fascination with transcendent lunacy runs through Herzog's work, both fiction and documentary; while disdaining Treadwell's rhapsodically anthropomorphized vision of nature.

Most of Halim's script is a laundry list of offensive remarks that he no doubt means to serve as titillating spoof, but none of it's funny or even the least bit provocative, just offensive.

If one masterpiece were to emerge from the recent glut of generally good quality Japanese horror movie, this chilling apocalyptic ghost story from Kyroshi Kurosawa is it.

Cheung gives a revelatory performance.

Most mystifying, however, is the bizarre hero-worship surrounding the fingure of Kim Jong Il, a nationwide personality cult that makes Joe Stalin and Chairman Mao look like D-list celebrities.

So outrageously, unregenerately stupid that you might be tempted to think it's smart. But it's not: It's as dumb as Georgia dirt.

The film ends on an ambiguous note that will infuriate some viewers and strike others as the only possible finale to Don's sad absurdist journey.

An intoxicatingly beautiful, maddeningly elliptical and utterly enthralling meditation on the fleeting pleasures and haunting aftermath of doomed romance.

Walks such a fine line between what separates dreamer from stalker, that the film he made about it ellicits a variety of responses.

Far from the sentimental drivel you might expect given the subject matter, this amiable and heartfelt drama about an adolescent boy's attempt to rouse his comatose mother explores the meaning of faith by tapping into the original, rebellious spirit of Christianity.

This is pulp with smarts and a social conscience.

Flashing by like images in a flip book, these protean forms appear to dance a cosmic quadrille set to the music of the spheres.

Morrison brings an amazingly sure hand to MacLachlan's prickly screenplay.

Far more than mere fish tale, Sauper's dark, devastating documentary profiles a socio-ecological nightmare with unimaginable consequences, and it's one of the best films about the ugly reality of the global marketplace.

The film makes no real impression; it's amiable, occasionally funny and indistinguishable from dozens of other romantic comedies just like it.

This limp, forgettable fluff is as preachy and heavy-handed as the "Goofus and Gallant" cartoons that a generation of children far less media-savvy than today's recognized as ham-fisted lessons in good behavior masquerading as funny strips.

Even by the degraded standards of dim-witted summer blockbusters, this is sorry stuff.

But if you stick around for those final credits, you'll also have the opportunity to hear Robin Williams deliver a clean but nonetheless hilarious joke, a reminder of how funny Williams can be when he's not trying so hard.

A terrific showcase for a troupe of fine actors who rarely find work outside the Australian film industry.

This minimalist meditation on loneliness and loss is so spare and drained of color that it seems always on the verge of fading into invisibility.

Demonstrating just how different literature and filmmaking can be, filmmaker-turned-writer-turned filmmaker Dai Sijie botches an adaptation of his own best-selling short novel.

Craig Brewer's sweaty, feel-good story about a small-time pimp and dope dealer making one last, desperate grab at his long-deferred dream is driven by longtime supporting player Terrence Howard's subtle, go-for-broke performance as Memphis mack Djay.

For a slick pop entertainment, more than the usual quotient of timely ideas rattle around between the relentless product placements and futuristic geegaws.

For all the updated riffs and personal noodling, it's best when it doesn't stray too far from the original material.