The wall-to-wall soundtrack naturally features plenty of today's leading hip-hop and R&B artists, including Flo Rida, T-Pain, Missy Elliott and Trey Songz.

An unusually poetic and meditative eco-themed documentary, Laura Dunn's The Unforeseen is as beautiful as it is ultimately depressing.

What The Grand lacks in originality it more than makes up for with its high percentage of funny moments.

Overcomes its essential familiarity thanks to a frequently witty script, grounded direction (by Peter Cattaneo, of "Full Monty" fame) and an engaging turn by its star that proves him more than capable of carrying a comedy feature.

This contemporary riff on "The Sunshine Boys" generally manages to succeed anyway, thanks to the entertaining performances by Mac and co-star Samuel L. Jackson and its generous doses of raucous humor and sweet soul music.

Proves to be an engrossing and entertaining polemic that successfully walks a fine line between thoughtful debate and, well, juicy gossip.

Entertaining and substantive enough to be interesting even for those completely unfamiliar with weaves and relaxers.

Reveals writer-director Lee Toland Krieger as a talent worth watching.

An evocative examination of the clash between tradition and modernism in the handling of an age-old problem.

Despite its undeniably fascinating elements, Prodigal Sons attempts to deal with so many issues at once that it inevitably lacks focus. But there's no denying that it offers a hook that other similarly themed docs could only envy.

What threatened to be yet another routine exercise in raunchiness instead turns out to be a sweet, charming, hilariously funny love story that could emerge as a sleeper hit.

It offers a much needed personal perspective on a subject that is too often reduced to political arguments.

The actor's compelling self-exposure, physically and emotionally, draws us into such a degree that we genuinely come to care about his well-being.

The film bears an undeniable stamp of authenticity in its depiction of the romantic crisis suffered by two twentysomethings in New York's ever picturesque Greenwich Village.

These talented performers star in two of the wittiest, most sophisticated sitcoms on the air, but for this movie pairing they're stuck with an endlessly silly plot line and overblown physical mayhem that is instantly forgettable. The fact that they make it so funny nonetheless is a testament to their abilities.

There's no denying that it is often outrageous fun, and the news that Fragasso and Drudi are working on a script for "Troll 2: Part 2" is but the icing on a very nasty cake.

There's no shortage of fascinating segments.

The film's satirical commentary about the intersection of politics and art is rarified, to be sure, but there is enough pointed humor in its execution to make The Juche Idea a provocative if intellectually challenging experience.

If the impact of co-director/writer Reed Cowan's film is undercut by its sometimes sloppy execution, it nonetheless provides a disturbing portrait of the increasing overlap between church and state.

Doesn't exactly bring anything new to the genre, it's no less effective than its predecessor in expertly conjuring an air of low-tech-style dread.

Filmmaker Leon Gast ("When We Were Kings") paints an entertaining portrait of the still-working 79-year-old photographer.

Although at times the film gets bogged down in psychological murkiness, the relentless pace and brooding charisma of its star overcomes its narrative deficiencies.

The ensemble cast -- ranging from an Oscar winner (De Niro) and faded action star (Seagal) to a B-movie vet (Fahey) and tabloid fodder (Lindsay Lohan, not exactly playing against type as a drugged-out, hell-raising sexpot) -- pretty much offers something for everybody.

Although its sendup of L.A.'s shallow, self-absorbed show business culture is not exactly revelatory, the film does deliver solid laughs, many of them thanks to Philips' wittily provocative, surprisingly hostile confessional ditties.

Fast-paced and episodic, the film at times provides such a torrent of information that it becomes more wearisome than enlightening.

Although scattershot in its approach and relying a bit too heavily on cutesy animation, Orgasm Inc. is an eye-opening exposé.

The Grace Card is a surprisingly hard-edged, faith-based drama.

This touching if insular drama about a woman grieving over the recent death of her aunt is well acted and incisively observed, although it's ultimately too low-key to have much dramatic impact.