There's a tight, urgent, and timely film hidden inside Shot In The Heart, but it's not always worth forging through all the gratuitous bells and whistles to find it.

An unforgettable tribute to a remarkable life, Sister Helen is inspirational in a way a film about a more conventionally pious religious figure could never be. Travis seems to be the antithesis of a cardboard saint.

For neophyte cinephiles, A Decade Under The Influence should serve as a lively primer on a seminal film era, but its reverent tone is antithetical to the rule-breaking spirit it celebrates.

Sharply drawn and well-acted.

The story told by e-dreams is inherently compelling, full of dark humor drawn from a deep well of hubris and historical irony, but the film would be a lot sharper had the filmmakers not fallen under Park's charismatic cyber-spell.

T3, while far from a classic, is an overachieving, mercenary sequel that's short on thrills, but surprisingly long on laughs and surprises.

Essentially just an above-average Hong Kong action movie, but as such, it's still far better than just about anything else Van Damme has done.

A harrowing, unblinking look at the crimes committed by the Khmer Rouge, the genocidal regime that by some accounts killed off more than a quarter of Cambodia's population between 1975 and 1979.

At once inspirational and deeply depressing, With All Deliberate Speed, directed by "Hoop Dreams" producer Peter Gilbert, is too candid and forthright about the current state of race relations to allow for the sort of cheery, unambiguous uplift favored by civil-rights documentaries.

With "Super Troopers" and Club Dread, Broken Lizard has cranked out two genuinely funny movies in a row.

Fine lowbrow entertainment, a fast, funny pastiche of science-fiction, horror, and teen-movie archetypes that is, aside from the original Scream, perhaps the most entertaining, fully realized film of the current postmodern horror/sci-fi cycle.

Brody's Oscar victory and newfound star power might have secured Love The Hard Way its theatrical release, but his depth and charisma are what make the film haunting and surprisingly resonant.

An auspicious debut for writer-director Michael Burke, the film makes a superb actor's showcase for Hirsch as well as Guiry.

Despite its numerous missteps and miscalculations, What Dreams May Come is often a powerful, affecting piece of filmmaking.

A pleasant piece of commercial filmmaking, but as a satirical comedy, it's devoid of laughs and insight.

Roth's novel was at heart a howl of rage against a corrupt, hypocritical, judgmental world, but Benton's austere adaptation--stunningly shot by the late Jean-Yves Escoffier--speaks largely in muted tones.

The Yes Men's brilliant lies unlock explosive satirical truths, but the film runs out of steam a bit toward the end.

The Coens engineer a funny, entertaining battle of the sexes here, but the preponderance of indelible male characters and less memorable female roles render it something of a mismatch.

Ice Cube serves as the film's solid moral center, with a dizzying variety of supporting characters in his orbit. A refreshingly class-conscious comedy-drama that refuses to talk down to its audience, Barbershop tackles serious issues.

Combining raunchiness and sweetness in a slapdash but generally effective manner.

Hokey and convoluted, but as a sticky-hearted fable of redemption, it's surprisingly seductive.

A textbook example of how a remade '70s show can feel like an enjoyable lark rather than cultural recycling run amok.

Undertow may prove the least immediately satisfying of Green's films, but it remains an achievement, emotionally rich and rife with biblical and mythic undertones.

Beyond offering a valuable look at Jay-Z's creative process, the behind-the-scenes material complements the concert footage, showing the work that allows Jay-Z to entertain tens of thousands of fans live.

A terrific cast, stylish direction, and elegantly choreographed mayhem help make it far better than it might have been -- Though ultimately silly, Equilibrium's shopworn but stylish synthesis of ammo and ideas is surprisingly engrossing.

Jeepers Creepers aimed for the archetypal primal spookiness of a scary campfire tale, and halfway succeeded. Here, Salva makes it work virtually every step of the way.

As Overnight progresses and its title grows increasingly ironic, it paints a mesmerizing portrait of a profane, overbearing monster engaged in a drawn-out act of professional suicide.

Finds a winning formula: Chan provides the action, various exotic lands serve up props begging to be employed in Chan-style combat, Coogan brings the dry wit, a minor constellation of surprise guest stars provides razzle-dazzle, and a steady stream of mild chuckles helps the whole fandango fly by painlessly.