Will Ferrell doesnt wanna grow up in Step Brothers
The Dark Knight: Heath Ledger peers into the void as Batman returns
Mamma Mia! drains the fun out of ABBA
Guillermo del Toros Hellboy II: The Golden Army another mindless sequel
Center of the Earth plays like a promo for 3D filmmaking
Hancock squanders potential greatness with lame humor and a half-baked hero
Wanted delivers the empowered Everyman sentiment of Fight Club, minus the guilt
Pixar's Wall-E is a tale of robotic love that nods to sci-fi's pantheon of greats
Kitt Kittredge: An American Girl dolls up the Great Depression
Carell and Hathaways Get Smart is a remake that works on its own terms
Mongol paints a historically hazy but kickass picture of Genghis Kahn
Mongol director Sergei Bodrov on navigating the perilous Hollywood battlefield
The Promotion: Male fulfillment, and the lack thereof, on full display
Tae Kwon Do comedy Foot Fist Way stars cringe-tastic Danny McBride
In the shadow of Iron Man, The Incredible Hulk cant live up to its billing
You Dont Mess with the Zohan marks the Middle East as fair game for comedy
Errol Morris cuts Abu Ghraib MPs some slack in Standard Operating Procedure
Etgar Keret on his low-budget movie Fatso and high-budget life
A bigger screen does nothing to flatter Sex and the City: The Movie
Steven Soderberghs Che wins the only Cannes award that matters: ours
Kingdom of the Crystal Skull proves Indy should have remained entombed
A Polish auteur and Mike Tyson! stage comebacks at the 2008 Cannes Film Festival
Presenting the only Cannes awards that really matter: Ours.
Cannes takes a decidedly serious tone with films featuring sites of social conflict