I've been touting Up in the Air as the year's best film since I saw it in Toronto in September -- and I still haven't seen anything that has changed my mind.

This is, by my count, the third version of Dickens' story that Walt Disney Studios has put out. The story, however, was always Dickens', as it is now.

Lars von Trier is a fraud, who keeps making movies because he has somehow convinced enough people that his delusions or pretensions (the latter, more likely) are art and that his movies are worthwhile.

When is a sports movie not a sports movie? When it's Tom Hooper's terrific The Damned United, yet another feather in actor Michael Sheen's cap.

This is a movie that has few ideas of its own, except for one large and highly suspect central one.

Unless you're a dog undergoing house-breaking, you don't need to have your nose rubbed in s**t to be reminded that it exists. But that seems to be Michael Haneke's raison d'etre.

Brothers is the classic example of a movie that tries to be too many things and ends up not being much of anything except overwrought.

Uncertainty ultimately doesn't go where you expect it to. It's a fascinating experiment that also happens to be an interesting and highly watchable movie.

A flat, self-consciously mannered film, Gentleman Broncos winds up as a waste of time for everyone involved -- including you, if you make the mistake of seeing it.

I don't want to know how Spike Jonze made Where the Wild Things Are. I'd rather simply simmer in the joy of having watched it unfold before my eyes.

The Last Station is the movie equivalent of what passes for serious drama on Broadway these days: a lot of big-name stars clustered together in a prod...

There are several big laughs in Zombieland. But, ultimately, director Ruben Fleischer has to honor the horror half of the horror-comedy equation. And that slows the movie down every time.

Gervais and his co-writer/director create one premise, then seem to shift to something else - and then to something else again. But the conceptual problems are less troubling than the essential shortage of laughs.

Though it tells the story of the rise of basketball's already legendary LeBron James, it frames it as part of a larger story about friendship and teamwork.

Calling Whip It competent is meant as faint praise -- and is barely true. The script might as well have been constructed from the screenwriting equivalent of Legos.

Clive Owen has never played a character dealing with problems as normal as the ones confronting Joe Warr, the sportswriter at the center of this film, which is based on a true story.

Blind Date is strong stuff indeed -- a well-written and insightful drama built around two beautifully modulated performances by Stanley Tucci and the always-marvelous Patricia Clarkson.

Part Parisian travelogue, part Robert Altman film, Cedric Klapisch's Paris is engaging without really being memorable.

Campion's film Bright Star is about the love of beauty -- particularly the ability of poetry to move the soul -- and about longing.

Two problems: Cody's script is barely funny -- and what humor there is gets crushed by the heavy-handed direction of Karyn Kusama and the marginal acting skills of Megan Fox.

Charlize Theron, an actress who knows how to reveal herself without making a big deal of it, delivers an emotionally naked performance. It's a showcase role, but not a showy one.

The Other Man is a tease of a film, in which a husband discovers his wife's affair and makes a point of meeting his rival. However, it focuses on the hole instead of the doughnut.

This film is so overheated -- even outlandish -- at times that you can't help but laugh at its histrionics.

9 is a computer-animated wonder, an apocalyptic action-thriller that's a little like The Terminator meets WALL-E

The story filmmaker Berlinger tells is about the deadly despoiling of the Ecuadorian rain forest by Texaco -- now owned by Chevron -- and Chevron's refusal to accept responsibility for it.