Assembly is brisk and high-grade, allowing for the variable quality of archival materials.

Neither conventional costume drama nor abstract objet d'art, this visually ravishing, surprisingly beguiling gamble won't fit any standard arthouse niche. Still it could prove the Polish helmer's belated international breakthrough.

OC87 serves both its subject and its viewers well by chronicling a process that is actually insightful, entertaining and apparently successful.

This one is shorter and has fewer segments, but also earns a much higher batting average. In fact, there’s nary a dud among the four main tales (not including the titled bookends), which each whip elements of terror, macabre humor and the fantastical into a giddy frenzy.

A feel-good comic ensembler that's hard to resist.

Works best as a straightforward appreciation of the music. Though docu's structure wears out full viewer interest after an hour or so, few will come away with staid prejudices (i.e. that turntablism isn't "real" musicianship) intact.

At first a little tabloid in tenor and editorial style, pic soon distances itself from the myriad court TV shows with a fine balance of everyday detail and verite drama.

A romantic comedy that treads familiar "Green Card" terrain with considerable charm if no great style or originality.

An unbeatable cast lends satisfying emotional texture.

A memorable portrait of an unbearable personality.

It goes down as easy as a cherry Coke.

A winning look at cross-cultural romance.

A film whose charms are odd and indefinable by design.

Flavorsome package vividly captures Bombay slum life, neither neglecting nor overemphasizing the bawdy, drag-queenish flamboyance hijiras bring to its mix.

A retro sci-fi tale that takes its time stoking a low-key absurdism to high silliness. Initial slow going pays off in cumulative laughs.

A fairly sexy, serious-minded drama hobbled by its lack of real conceptual ambition.

Slick, ingratiating and high-spirited enough to win over gay men of all colors.

It's crude, sexist, ear-splittingly loud and a helluva lotta fun for anyone suffering from past or present testosterone overload.

Succeeds as light entertainment -- even if at the cost of the material's greater potential.

Plays out in quite a different offscreen context than did last year's similarly themed sleeper "Startup.com."

Unfolds at a leisurely but enjoyable pace, its dramatic contrivances never pushed too hard.

An adept if necessarily limited translation of uncinematic material, The Guys retains the potency of its stage original as a poignant, ingeniously simple tribute to firefighters lost in the World Trade Center disaster.

A fascinating story, albeit with some missed opportunities in the telling.

A wacky, offbeat piece of filming, charged with vitality, and inventiveness by director Dick Lester.

A pleasant surprise...more directorial personality here than most "SNL"-derived features get...the cheerily absurd, color-saturated atmosphere recalls John Waters' "Hairspray."

Sensitive directorial bow by editor Wiebke von Carolsfeld and solid performances lend conviction if not quite distinction to the drama Marion Bridge.

Pace is sleek, airless and apt.

Sometimes first-person to a borderline-indulgent fault, docu still offers potent spur for discussion on the blurry line between forgiveness and tolerance toward terrorism.