This dark comedy of addiction, delusion and humor as a weapon marks the feature directing debut of veteran writer Peter Tolan.

It can hardly be called a children's film, but a masterpiece of feature-film animation for all ages.

Slick, stylish and super-violent, but also oddly dull.

Sentimental, formulaic, predictable and shamelessly manipulative, Marcos Carnevale’s tale of late-life love is also genuinely heartbreaking and heartening.

Under the beautifully appointed costumes and to-die-for interiors is Breillat's preoccupation with female sexuality and desire, all centered on a blistering performance from a perfectly cast Asia Argento.

Mukherjee's charm keeps the child-like Geeta from being thoroughly annoying, and the musical numbers are pleasant, if not particularly memorable.

Peter Askin's powerful documentary serves as an important reminder of our First Amendment rights, and a tribute to one man who fought to preserve them in the face of Congressional intimidation.

It's dramatically unsatisfying.

It's a light, silly instantly forgettable comedy peppered with action set-pieces and affectionate nods to its fondly remembered predecessor, including a gracious end-credits dedication to the late Don Adams and Edward Platt.

Adam Sandler can breathe a sigh of relief: Thanks to this crude, bafflingly unfunny comedy from fellow SNL alum Mike Myers, Sandler can rest assured that his "You Don't Mess With The Zohan" won't go down as the worst movie of 2008.

A truly fresh take on the romantic comedy: It's as sad as it is funny, and the boy-girl match so misbegotten you can't help but pray it won't work out in the end. Call it an anti-rom-com, and see it if you can.

It's fun, fast-paced, educational entertainment that's fit for the whole family -- American boys included.

Restrained and decorous to a fault.

M. Night Shyamalan's sixth film mines a rich lode of end-of-the-world-as-we-know-it clichés, but while the set up is spooky, the development is heavy handed and marred by Shyamalan's inability to write natural-sounding dialogue or convincing characters.

The dialogue is minimal but sharp, the pace swift and the action sequences suitably loud and brutal.

A subtle, unsparing portrait of families whose fragile dynamics fray under pressure. Its strength lies in the complexity with which the characters are written.

So it should come as no surprise that what Maddin eventually produced is a film about HIS Winnipeg, a psychological terrain that's no more -- nor less -- "real" than William Carlos William's Paterson or Marcel Proust's Combray.

The story eventually resolves itself a little too neatly, but it never devolves into a freak show or a fable, thanks in large part to Farmiga and Stahl's deft, quirky performances.

A deranged penguin is seen racing toward his certain doom amid the crags of a mountain range. It may not be "Happy Feet," but Herzog has made a penguin movie after all.

Beautifully animated, the celebrity voice performances are terrific, and the action sequences negotiate the fine line between being physically convincing and becoming too intense for the young children.

At a time when the images of Arab-Americans are already largely negative, do we really need more violently temperamental, bomb throwing men in turbans and beards?

A cute, slight tale.

While rich in ethnographic detail, the film ultimately recalls nothing more than pulp fictions like Robert E. Howard’s "Conan the Barbarian," which validate their worship of ubermensch-ian brawn by way of sad tales of childhood victimization.

A crude, artless bogey tale.

Conrad's script surprises at nearly every turn.

Dreams With Sharp Teeth Or, Why is Harlan Ellison so gosh darned angry?

For all her own frustrations, Davenport is honest enough not to gloss over the fact that what Muthana's adventures in the screen trade taught him was to hustle, toady and ingratiate himself to useful people. And she helped.

This scrappy, ultra-low budget comedy, made in 19 days for $70,000 by North Carolina School of the Arts graduates Jody Hill, Danny McBride and Ben Best, comes with its own Cinderella tale: It debuted at the 2006 Sundance Film Festival but failed to find distribution until comedian Will Ferrell and his business partner, Adam McKay, championed it.