Bedeviled brings up some prickly questions about whether or not convention should be so easily accepted. How has something as disturbing as rape revenge become a "classic" of genre film?

American remakes of foreign films? That would be a 'no' vote. Having said that, I can heartily recommend Let Me In, the moody, touching American remake of the Swedish vampire film, Let the Right One In, from 2008.

On the surface, The Road has enough drama and thrills to quench the craving of any Friday night movie buff. But its greatest impact will not be on the screen, but afterwards, in discussions about the vital issues it raises.

"I'm a little rusty at chess," Williams says. "Matthew [Broderick] has got me by a hair." Williams smiles at the memory -- and seems tickled simply by the fact that he's a working actor.

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

The Road is the most poignant love story between a father and son that I know of, so I wanted, above all, to respect the book, to be authentic and not 'Hollywoodize' it, to use great restraint and focus upon its core qualities.

For Viggo Mortensen, the star of the new movie, The Road, the worst part of the demanding role was his fingernails. No mater how much he bathed, he couldn't get them clean.

A common theme runs through several films slated to hit theaters soon: the earth and its fate. "Take heed," the filmmakers seem to be saying, "or these will be our struggles."