Be warned: the silly songs are damnably catchy, from Gerrit's ode to the seventeen pigeons he keeps on the roof, which he sings while sporting a very tight set of white undergarments, to the rousing "Ja Zuster, Nee Zuster."

Character actress Lin Shaye, usually relegated to grotesque supporting roles in mainstream comedies, is a revelation as Buono's embittered, cancer-ridden mother.

The situation in these former republics may indeed be dire, but it's a breeding ground for exciting cinema.

Queen Latifah is a natural-born charmer, but there's only so much she can do when paired with a costar so irritating it's hard not to squirm when he's on the screen, which is most of the time.

A bold, painful memoir that finds an innovative middle-ground between conventional documentary and a homemade, home-movie collage.

This oddly flat serial-killer picture shows none of the baroque flair that characterizes the best of Italian horror filmmaker Dario Argento's work.

Swings wildly between heartstring-tugging melodrama, testosterone-fueled action and buddy comedy.

One soggy, charmless heap of chum.

When the average comedy is aimed at juvenile 12-year-olds of all ages, the fact that Russell's target audience is precocious 12-year-olds of all ages is a significant improvement without actually being a triumph of mature wit over boorish puerility.

It's a fascinating film that manages to touch on subjects as diverse as mental illness and what's wrong with the record industry, set to brilliant music by the one of the best bands you've probably never heard.

While the film is unabashedly pro-Kerry --Butler and Kerry are longtime friends -- it isn't simple hagiography; it's also a portrait of Vietnam War-era America.

You may not care for the message, but there's nothing insidious about it.

The devout will no doubt enjoy this picturesque dramatization of an inspirational story many have known since childhood; others may understandably expect something more.

The sad fact is that this comprehensive and compassionate documentary about the hottest of the "hot-button" topics - gay marriage - probably won't change one's mind

A delicate watercolor dream of a ghost story, as insubstantial and tremulously haunting as an unquiet spirit.

It should come as no surprise that there's an American remake in the works, starring Leonardo DiCaprio and Matt Damon and directed by Martin Scorsese.

Both genuinely funny and authentically horrifying, it puts the average horror comedy to shame.

Keaton and Holmes have some sweet father-daughter moments and the supporting cast gives its all.

Director Joseph Ruben's best efforts can't keep Gerald Di Pego's puzzle-picture script from toppling into absurdity as it lurches from melodrama to psychological thriller with supernatural overtones to full-blown exercise in X-Files-style nuttiness.

The film works best when it doesn't try so hard, when Salles simply allows his excellent actors and his beautiful images to work their magic.

Nathanson processes this pungent stew of greed, ambition and self-delusion into pablum so sweet and bland it wouldn't shock a convent-raised idealist.

The main problem is Marcore, who is almost too gawky to be believed.

Formulaic but surprisingly affecting drama.

This short documentary might teach you a thing or two about the electronic instrument that revolutionized the sound of modern music.

If you're feeling open-minded and a little adventurous, this chilling exploration of the gender gap from Gallic bad-girl Catherine Breillat is worth a look.

If Jean-Luc Godard at his most Maoist had felt compelled to make adult movies, he might have cooked up something like pop-art punk-porn auteur Bruce LaBruce's slab of revolutionary raunch.

It can hardly help but outrage at least some of the people some of the time.

In light of the recent plight of real New York City-based filmmaker Micah Garen, who was kidnapped and nearly executed while attempting to make a genuine documentary in Iraq, the whole endeavor seems simply foolish.