Once is a film for anyone who has ever been transported by the power and passion of music.

It's a pretty twisted concept, bordering on offensive. But mostly it's just not funny.

Relentlessly grim and grisly, 28 Weeks Later is not for the faint of heart. But its provocative post-apocalyptic theme makes for a smart and deeply unsettling film.

It tries to pass itself off as a film about feistiness, forgiveness and the bonds of motherhood. Instead, it deals lightly and inappropriately with promiscuity, alcoholism, drug abuse, grief and child molestation. Georgia Rule doesn't make you feel good; it makes you queasy.

Starts off promisingly, then grows as lifeless as a poker face.

Does the finest job of any film in painting a believable portrait of aging, capturing the sadness, confusion, anxiety and defiance of the early stages of dementia.

Solidly entertaining and possesses dazzling special effects, but it falls short of the near-perfection of the Spidey sequel.

The stories run a gamut of emotions: melancholy, bittersweet, provocative, witty, poignant, silly and fanciful.

Serves up an irresistible helping of delicious fun with writing that is tart and sharp and a story infused with sweetness.

Has some strong acting. But largely because of its glacial pacing, the story ends up feeling too detached to move us as it should.

This is the worst kind of movie, one that insults its audience by purporting to condemn violence while simultaneously reveling in it.

This implausible action thriller also stars Julianne Moore as an FBI agent who sees Cage's two-bit Vegas act and decides he can single-handedly save the world.

Most noteworthy for the performance of Sigourney Weaver as Linda, an autistic woman.

Though it's no "Monty Python," Hot Fuzz is a clever, over-the-top marriage of mayhem and merriment.

It isn't the Bates Motel, but the Pinewood Motel has enough creepy visitors and creaky floors to make Vacancy worth checking into for 90 minutes.

It's a provocative game that plays out with intelligence and wit.

What gives In the Land of Women its singular charm is the charismatic Adam Brody, the star of TV's "The OC."

The film itself is dark and chilling, if occasionally plodding, but worth seeing for the absorbing potency of its main performances.

It's nowhere near as funny or incisive as the South Park movies, and it has a much crazier style. Imagine Abraham Lincoln chatting up a giant milkshake and discussing slavery, and you get the picture.

All cinematic creativity seems to have focused on devising the most repellent ways to maim and murder.

Superficial and lurid, Perfect Stranger is the cinematic equivalent of spam and should, like those trashy messages, be avoided.

An engaging tragicomedy, exploring the consequences of single-minded fervor in a humorous and humane fashion.

Though it's not likely to become a classic like the Hitchcock film, it's a smart and well-acted teen thriller that serves up some lively scares.

Though it could probably use an intermission, Grindhouse is three hours of mostly campy fun.

The Hoax lures you in with its captivating performances.

The TV Set skewers the television industry in a manner that occasionally feels familiar and at other times is humorously incisive.

As if this drivel weren't bad enough, the ending blatantly threatens a sequel

Been-there-seen-that wannabe laughfest.

A hard-core war film with raw violence, intense action, graphic sexuality and a twisting plot that offers a series of surprises.

Part of the problem lies in the casting imbalance: Ferrell is so much more adept at this comedy style than Heder.

Rarely does a first-time director make as auspicious a debut as Scott Frank has done with the haunting, engrossing and intelligent thriller The Lookout.

A visual treat with an engaging story that has an uplifting, but not maudlin, message.

Despite gripping chase sequences and a few awe-inspiring fiery explosions, gaping holes in the convoluted plot make Shooter heavier on style than substance.

The film feels as if it's trying to force a sense of wonder and awe upon its youthful audience, rather than simply letting an intriguing story unfold naturally.

Worth seeing, not only because it shows how an ordinary man can do something extraordinary, but because it allows audiences the opportunity to watch an extraordinary actor in a performance that could have been rote, but instead is nuanced and intelligent.

This is not a simple, uplifting tale. It's never clear whether Charlie will fully recover, and that sense of realism is the film's strength.

It takes more than an awkward title attempting to sound cool to overcome its mundane plot and silly dialogue.

The movie, full of wan gags and tedious situations, is directed blandly by Rock.

Premonition is both dreary and absurd, suffering from a lack of intrinsic logic and terrible pacing, a one-two punch that kills off any chance of entertainment value.

The action epic 300 is so overblown, overheated and over the top that on some level, it's fun to get caught up in the operatic dizziness of it.

This Korean-made film takes the well-worn creature-feature genre and spins it on its head thrillingly.

An engaging and moving film with a universal story about the bonds of family as told through two generations of a Bengali family.

From the embarrassingly over-the-top performance of Ray Liotta as a tough-guy biker to the pratfalls of William H. Macy as a bumbling computer geek, this movie stinks of exhaust and desperation.

This is the rare movie that blends long scenes of meticulous research with a sweeping story and sustains a feeling of riveting suspense. Zodiac grips you by the throat and doesn't let go.

The best thing about Black Snake Moan, a song title, is the blues soundtrack. The movie is an absurdly jarring collection of archetypal characters in miserable circumstances with a resolution that feels forced and tacked on.

In most cases, doggedly pursuing a dream is laudable. But if it does nothing else, The Astronaut Farmer demonstrates that not every dream is worth pursuing. At least not the belabored one of a narcissistic crackpot masquerading as an admirable dreamer.

Despite its awkward title, Starter for 10 is a winning coming-of-age tale told with grace and charm.

Less ambitious and more narrowly focused than the CIA saga "The Good Shepherd," Breach is a compelling, intelligent drama.

For a movie about the power of imagination, Bridge to Terabithia is not as clever as you would hope.

This appealing romantic comedy undertakes the conventions of the formula without an inordinate amount of clichés. Music also infuses the overall plot with a satire of the music industry, and the pop tunes and lyrics are catchy.

It's so derivative, unfunny and thuddingly bad that it's one of the more cringe-inducing movies of a genre chock-full of clunkers.

Catch and Release is not worth catching. Release yourself from boredom by giving it a miss.

The film tries to be stylish and slick, but is mostly just nasty and blood-drenched. Piven, so funny in other film roles and on TV's "Entourage," overdoes it here, and extended scenes of his debauchery grow excessive and thuddingly dull.

A psychological drama with an intriguing ambiguity that challenges the viewer's loyalties and preconceived notions. For the first half of the movie you find yourself on the side of a hunted man. Then as the story unfolds, his pursuer becomes the one you root for.

Don't be fooled by the presence of some pretty-boy actors: Alpha Dog is a gritty, gut-wrenching and disturbing film.

Given its predictable story, the only reason to see Stomp is for the rhythmic step dancing.

A moving documentary that informs, entertains and inspires.

Who would have thought an animated comedy satirizing the predictable nature of fairy tales could be so grim?

Freedom Writers is an earnest, well-meaning attempt at inspirational teen drama. It has some moving scenes and honest observations, based on a school in Long Beach, Calif., but the movie sinks under the weight of formula and stereotypes.

It is a lovely film for the holiday season, as well as afterward, and is reminiscent of "Finding Neverland," without the darker undercurrents.

Pan's Labyrinth artfully fuses a war film with a family melodrama and a fairy tale. The result is visually stunning and emotionally shattering.

If not for Sienna Miller's engaging portrayal of Edie Sedgwick, Factory Girl would have little to offer.

Notes on a Scandal may be disturbing, but it is a potent and captivating account of misconduct and betrayal.

An exhilarating sci-fi action thriller with a powerful social and political message.

Deliberately paced, epic and ambitious, The Good Shepherd feels related in tone, mood and style to "The Godfather."

Though the premise is clever -- everything comes to life at night in New York City's Natural History Museum -- this movie doesn't make the best comic use of the concept.

Its use of trite "Win one for the Gipper" dialogue, overbearing soaring music and conventional plot devices makes it far too formulaic to truly move us.

Peter O'Toole's tour-de-force performance makes Venus a movie not to be missed.

The Curse of the Golden Flower is the year's most operatic and visually lavish film.

It takes a filmmaker possessed of a rare, almost alchemic, blend of maturity, wisdom and artistic finesse to create such an intimate, moving and spare war film as Clint Eastwood has done in Letters From Iwo Jima.

The Painted Veil is a welcome addition to the slate of holiday movies, particularly for those drawn to intriguing tales of multi-dimensional characters in exotic settings.

As written, directed and, of course, acted by Sylvester Stallone, this film provides more insight into the character and his psyche than previous films, which were much more about the punches thrown.

Jennifer Hudson is the heart and soul of Dreamgirls. When she's on the screen, the movie shines. When she's not, the whole endeavor suffers.

Soderbergh's homage to film noir and wartime thrillers, is technically stunning but narratively and thematically hollow.

Breaking and Entering starts out powerfully, then falls apart by the time it reaches its too-neat conclusion.

Kids should enjoy the comic performances of the animals, and adults will appreciate the film's gentle poignancy, powerful enough to induce a lump in the throat.

It's a pleasant enough fantastical adventure, but it does feel naggingly derivative.

If The Pursuit of Happyness didn't star Will Smith and his adorable son Jaden, it might be just another tearjerker rags-to-riches story. But their chemistry raises the level of the film, making it heartfelt and compelling.

If you're willing to embrace a bit of corniness for the sake of some incisive humor, a few poignant moments and enjoyable scenarios, make time for The Holiday.

Blood Diamond is a gem in a season with lots of worthy movies.

The movie is so impressionistic, it obfuscates any sense of history. We expect at least a hint at the causes of the Mayan Empire's demise, but instead we get Mesoamerican Rambo.

Not only a stirring history lesson and an action-packed war film, Glory is also a ferocious statement about enduring discrimination that resounds today.

A thoroughly compelling political thriller, at once intellectually challenging and profoundly emotional.

Overflows with pretensions and absurdity.

Déjà Vu cannot escape the weight of its murky science, action-film formula and preposterous ending.

The movie is spotty. The short films, essentially comic sketches, were more consistently funny. The movie lags on occasion, but it also has quite a few laughs.

The History Boys is an erudite, sharply written film with consummate performances, but its origins on the stage are all too obvious.

The film is about a half hour too long. The third act drags and an extended high-stakes poker game doesn't always keep our attention. But this is a superior Bond.

The dazzling animation, catchy songs and Broadway-worthy dance numbers give the film even broader appeal.

Some of us look forward to Guest films the way others pine for installments of Bond or "Star Trek." This skewering of Hollywood will entertain we "Guesties," but it's not at the top of his roster of parodies.

Despite its flaws, its intriguing premise leaves us haunted by thoughts of "What if?"

Russell Crowe may find himself discovering the simple joys of life in A Good Year, but audiences will be checking their watches during this joyless attempt at comedy.

Intricately plotted without being contrived and exhilarating in its eccentricity.

Though sometimes boldly captivating, the movie is also occasionally pretentious and lurid simply for shock value.

Borat is most gloriously funny moving picture for to make people see their stupidness.

This year's wittiest animated adventure saga.

With this, possibly his most subdued film, Almodo´var reinforces his status as one of the most distinctive and talented filmmakers working today.

Though preachy at times, Catch a Fire is a well-constructed action thriller elevated by Luke's performance.