Please see this movie, and take any kids old enough to read subtitles. It's one of a kind.

It's a powerful polemic in its own right, despite some maddeningly glib generalizations, a documentary that functions as a 2½-hour provocation in the ongoing debate about corporate conduct and governance.

Seldom has grandeur struggled so mightily, and fruitlessly, with rampant goofiness.

It's a great accomplishment and, at a time when satire is in short supply, a terrific surprise.

Ms. Hudson makes the most of her role, even though that's not saying so very much -- the writing is terribly thin -- while John Corbett gives an unaccountably clumsy performance as a romantic pastor. Joan Cusack gets the funniest lines as Helen's sister, a model of boring mommyhood, but she also stops the movie dead in its tracks every time she plays a scene.

Mr. Samuell's stylistic revelries are meant as comments on the conventions and excesses of movie romance, but his approach is glib and self-congratulatory. No feelings dwell beneath the layers upon layers of faux-naïve artifice. I dare you to sit through this movie and not wish you were somewhere else.

News management is the main issue. Control Room shows how coverage is tailored to fit the audience, both by al-Jazeera and its Western counterparts.

There's an old-Hollywood feel to the movie's solid showmanship and unabashed sophistication. These days it's feature-length 'toons, sporting the newest-fangled technology, that take kids and adults alike back to the movies' good old days.

In Troy, and in overreaching, underachieving productions like it, digital imagery is fast becoming both a Trojan horse and Achilles' heel.

Although mood often substitutes for momentum in Ms. Kalem's film, both of her stars give affecting performances, and there's growth on both sides of the unlikely romance.

Once in a great while a film seems right in every detail. Andre Techine's Strayed ("Les Egares") is such a film.

One of the many stylistic distinctions of this outwardly modest production is the complex voice that the filmmaker has found for his young hero.

Nothing's alive in this trash-heap travesty of warm-weather entertainment, despite the frenetic pace.

This shabby enterprise gets so many things so wrong that it freezes your face into a cringe.

A high school comedy that is sharply observed and often terrifically funny, yet oddly misconceived.

Before and after plot mechanics, a drama of family tension and warmth.

Isn't the best romantic comedy one might wish for, but it's more than good enough.

The movie's leisurely, elegant setup makes its action payoff seem, by contrast, particularly mechanical, cynical and grotesque.

Deeply affecting.

Here's an entertainment to warm the heart of anyone who grew up (or failed to) on the formative joys of action movies.

Punishes the audience with a flat starring performance; Mr. Jane finds few sparks of life in a hero who wasn't all that lively to begin with.

Suffers from a lifelessness that seems built into the terse, slightly detached style of the director, David Mackenzie, who also did the adaptation.

A misshapen semi-spectacle that seems to be simulating an epic, and getting away with it only occasionally.

The fascination here is not so much the surface drama, though that is suspenseful and sometimes shocking, but Michele's inability to grasp the nature and extent of the evil that surrounds him.

A perfect fit in the category of instant classic, and, not incidentally, fits the profile of super-profitability. Bursting the bonds of its genre, Hellboy fills the screen with gorgeous imagery, vertiginous action and a surprising depth of feeling.

Any shortfalls in Home on the Range a conventional but perfectly pleasant entertainment, have more to do with the ABC's of storytelling than with the D's of animation.

The movie itself is neither a catastrophe nor major.

This beautiful -- and beautifully controlled -- film is also an object lesson in how to hypnotize an audience.