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.

Babel may be the most ambitious movie of the year, tackling towering communication barriers, global politics and cultural divides in a structurally complex and fascinating narrative.

While there is a vague hint of a vanity project in a few extraneous scenes, directors Barbara Kopple and Cecilia Peck have fashioned a compelling and rousing film that will not only appeal to Chicks fans, but make fans of those who weren't before.

Though the blending of archival footage into a faux documentary is occasionally clever, ultimately it's banal and unconvincing.

With its ho-hum performances, muddled point of view, inert plot and pedestrian writing, all that's left to appreciate are the sumptuous costumes, elaborate hairstyles and rococo production design, which are not enough to sustain any movie, even one set in the gilded splendor of Versailles.

Running With Scissors lacks the edge of Augusten Burroughs' best-selling memoir. The result is an inconsistent tragicomedy that attempts to be cut from the same darkly humorous cloth as "American Beauty," but fails.

It is one of the year's best films and perhaps the finest modern film about World War II.

A visually stunning, startlingly clever sleight of hand that will have audiences pondering well after the lights go up.

Like a politician who waters down his message to gain favor with the masses rather than truly serving his constituency, Man of the Year seems determined to play it safe on all counts.

Deliver Us From Evil is so horrifying it makes "Texas Chainsaw Massacre" look like a walk in the park.

It's a stellar cast, but you can't help but lament the bad timing.

Though the film is not terribly original (and features a jarringly miscast Alicia Silverstone as Alex's nanny), the action scenes are diverting, the veteran cast is amusing and the engaging Pettyfer makes a solid debut.

Little Children maintains much of the power, humor and nuance of Tom Perrotta's wonderful novel, but seems unsure if it's a satire or a serious drama.

The film's score and editing brilliantly heighten the film's energy, keeping the audience somewhat off-kilter and unsure where things are headed.