Steve Davis

A clunker if there ever was one, Doogal is so mind-numbingly incoherent that parents and children alike will stare dazedly at the movie screen wondering what the heck is going on.

In this pointless rehash of the 1964 Blake Edwards film that introduced Inspector Clouseau to the world, Steve Martin inhabits the role of the bumbling French detective without a trace of the comic genius of Peter Sellers.

Members of the violent Waodani tribe of Ecuador kill five Western missionaries, but as a result they choose to abandon their kill-or-be-killed ways.

The film’s wonderfully over-the-top performances often feel constrained by first-time film director Susan Stroman, whose inexperience behind the camera is all too apparent.

There’s a sweet bent to this simple South African film about a multicultural group of employees at a Cape Town animal shelter who find both goodness and hope in their troubled lives.

This fresh adaptation of Jane Austen’s masterpiece starring Keira Knightley presents a witty and lovesick skirmish of the sexes that exceeds all expectations.

Some may doubt the need to once more bring Dickens’ tale to the screen, but Polanski’s deft adaptation proves that there’s still life in that well-worn story of a boy who beats the odds.

As with many film adaptations of stage successes, David Auburn’s Pulitzer Prize-winning play about mathematics and madness loses something in its translation to celluloid.

An Unfinished Life never transcends its simple storyline to charter original ground, but it’s the kind of movie you can’t fault too terribly much, primarily because its heart seems to be in the right place.

While the unconventional Yes doesn’t realize all of its artistic ambitions, its depiction of romantic passion still resonates.

Even though grande dames Maggie Smith and Judi Dench share the screen in this drama, their immense talents are mostly wasted.