The film is at once clever, poignant and timely.

The central notion in After the Cup is not the obvious; we can all live and work together to our greater achievement no matter where we are from or who we are. Rather, the question here is-will we-even when we lose the football game? It's a much smarter and more interesting question.

It is America's oldest and most prestigious high school science competition. Over two thousand students begin each year vying for slots; 40 are chosen as finalist. For high school science and math geeks this is a big deal.

In any case, The Girl Who Played with Fire works well as a stand-alone feature, though it's more fun if you've seen the first film.

Along the way Göran and Sven suffer the standard indignities of a Gay couple in an idyllic Swedish neighborhood. Which, as it turns out, are all the same indignities a Gay couple suffers living in an idyllic American neighborhood.

The juxtaposition of the tragedy and the lunacy of the circumstances are not completely disparate; satire is an appropriate weapon here, but it's the drama in Peepi Live that truly resonates.

The result is a rather revealing film, not only about Sara and the choices she's made, but about the industry itself, with its contrasting pleasures and pressures.

If this film is nothing else (and it may be nothing else) it's funny and (ironically) fundamentally true. What certainly isn't true is what it purports to be, which is a legitimate course of study that analyzes the historic, international, socio-cultural, economic and psychological relationships between individuals, governments and corporations through the prism of physics and what has been loosely called metaphysics.

Cool It resonates, and gives one pause not just to consider the merits of the global warming question, but to consider the merits of all that we've decided to do about it, impending doom notwithstanding.

This is a wholly accessible story that most filmgoers will find pithy and generally well done.

Parents will want to stay for this one.

The twists and turns in The Double Hour are not arbitrary; rather, they are well considered and effective, right down to the last frame.

It's a movie about a life, and life can be kinda funny and kinda poignant, even when it's full of ordinary things, like age, sickness and loss.

This is a quirky, imaginative and outrageously funny little movie that will speak to more of us than any of us would like to admit - even if we aren't sporks, persay.

It takes from American gangster classics ("White Heat" and both "Scarface" films come to mind) but its unique setting and underlying themes give it distinction.

This movie is often hysterical, and sometime very sweet.

It's pithy and funny in that continuous smile kind of way that you don't notice until you're half way through it.

Much of the film is taken up with Wexler's musings about his own mortality and physical, shall we say, decomposition.

The dark is not threatening, and metaphorical darkness is even less so; as a result this movie is not particularly scary.

Lucky has its moments, but even with good, sometimes exceptional performances, its criminally vile characters are never likable enough to make you laugh at (or forgive) their wickedness.

All of this is silly, none of it is funny and it's not long before the whole film stops making sense altogether.