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It is predictable procedural fodder - you can see the "twists" coming a mile away - but done with enough conviction to paper over the plot holes and cliches.

Aside from feeling bemused and confused by the end, the web of deceit that's presented is not even vaguely believable.

The music is good, the suits are sharp, but it's the outstanding performances that wow. Walker is electrifying as Howlin' Wolf and Beyonc - playing Etta James - has never been so sultry and sexy.

Perhaps there were insurmountable legal restrictions. But the movie still serves as a dandy primer for rediscovering a lot of great music.

Daldry honed his prowess for stories about boys on a mission with his worldwide hit, Billy Elliot (2000); here, the stakes are different but the need for audiences to feel the film is again paramount

Eric Roth has crafted a wonderful screenplay from Jonathan Safran Foer's novel that reveals the vulnerable inner voice of the young boy who not only loses his father, but bears a heavy burden of guilt

Once again Shyamalan is a maddening storyteller, by turns inspired and insipid, and he still manages to conjure some odd, unnerving moments.

Lady in The Water is ludicrous, drowning in its astonishing premise and irritating by its failure to connect on any level

I'm so convinced that Clooney will eventually make his Huge, Important Film About American Politics that it's odd to me he's made this one: his small, entertaining film about American politics.

Like the charming, inoffensive candidate with some great ideas and an impressive brains trust...[it's] more than capable of spouting some mildly-inspirational truisms about the nature of politics and looking good in a suit while saying them.

Having established an effectively creepy mood in the first half, the film eventually degenerates into a muddled mess, with Nicole and Daniel Craig dodging zombies while popping amphetamines in a desperate effort to stay awake. We know how they feel.

Novelist Jack Finney's body snatchers have appeared in some fine movies, but the only disturbing-looking thing here is what they've done to Nicole Kidman's lips.

There isn't a boring shot anywhere, and writer-director Schnabel is clearly enjoying himself as he plays with expressionist sound, neo-Eisensteinian edits, and all sorts of other filmic ideas.

A film that treats its audience as adults, this is an extremely rewarding work that handsomely pays off the concentration required to watch it.

This is intelligent, committed, and politically provocative, though its narrative puzzle box may prompt you to throw up your hands and let ExxonMobil go on running the world.

It's a wonderful lead performance.

An efficient cop thriller, with a charismatic performance from Roundtree as "the cat that won't cop out when there's danger all about...Shaft!" Can you dig it?

A blaxploitation pic that's never quite as cool as its theme song.

Don't bother with Jonathan Demme's toothless 2004 remake; the rereleased classic cold war thriller from 1962 by John Frankenheimer packs a harder punch.

Among a strong cast, Lansbury is wonderfully wicked as Shaw's despicable mother.

Many will relish Broken Flowers' refusal to serve up a resolution; others will find it frustrating. Inevitably, that's Jarmusch: like Murray's character journey, the rewards lie in the small moments that fade as much as the ones that linger.

Funny, disciplined, and acted with great skill and warmth.

Chicago 10 is that nearly perfect marriage of style -- edgy, different -- to documentary subject: 1968, that seminal year so celebrated in 2008 for changing the America that came after it.

A vibrant, unconventional documentary about the conspiracy trial of the so-called inciters of the riots that occurred during the 1968 Democratic National Convention.