When you get half-way through a festival and find yourself liking every film, you begin to wonder if you're not being critical enough. Were they all really that good? Did excitement cloud the picky nature of judgment? It can happen. How many times do we go see a movie with a crowd who loves it, then watch it on our own and hate it? As much as we can gripe and moan about the foibles of Hollywood, it's not entirely difficult to get swept up in excitement. (Or, for that matter, distaste.)

Inevitably, a film will pop up into the mix and you'll realize: no, you're not being too kind. Some are bad, and some fail. Hitting the half-way mark at HotDocs, I got the balancing slap of failed promise, some more worthy picks, and only one true stinker. Read on for docs about the one-and-only Thelonious Monk, living in the public eye, and more.

Film festivals are an interesting organism. On the one hand, they bring together big-buzz films and match them with lesser-known fare from all corners of the Earth, offering a rather eclectic and irresistible mixture. On the other hand, it's often hard to traverse the selections and always pick decent fare. Most often, great picks are intermingled with a number of eye-rolling doozies, and no matter what you do to try and avoid them, they inevitably pop up. But Hot Docs is different. For the last three years, I've been overindulging in documentaries, and like I touched on in my recent rant, I've liked almost every film I've seen.

It's a pretty rare phenomenon, and it says a lot about the quality offered in North America's largest documentary film festival. And it's not just me. This year, the Hot Docs audience increased by 42% over last year, reaching an estimated 122,000 people. Does this mark a change in attitudes towards documentaries? I can only hope...

In this dispatch, you can read about pre-teen filmmakers, a love story about brothels and quadriplegia, the Borat aftermath, Korean stuntmen, art criticism merged with murder, and the female orgasm. How's that for variety?

Saturday saw the world premiere of the first film by Francis Ford Coppola in a decade, Youth Without Youth, at the Rome Film Festival. Immediate reaction was "mixed," according to The Associated Press, basing their comments on "an earlier screening for the press," which evidently prompted Coppola to say: "Part of being an artist who wants to look at new areas of [is knowing that] it will take a while for people to be familiar with the film. I only ask that you think my film was interesting." The AP story stated in part: "Coppola asked people to take their time and see it more than once"; though that's not a direct quote from the director, it's a one-liner that's been picked up by many other outlets.

Variety also described the reaction as "mixed," stating: "Deeply divided opinions zinged through the halls of Rome's Auditorium Parco Della Musica, the fest's hub." So far, though, I've only been able to find four English reviews online: the three trades (all negative) and one experienced critic (positive). Clearly, it's too early to dismiss the film out of hand based on just four opinions, especially in view of Coppola's non-mainstream approach to an esoteric subject.

Jay Weissberg of Variety found it "overly talky" with "mishmash plotting and [a] stilted script," lacking "the kind of Eastern European magical realism that would have made it resonate." Ray Bennett of The Hollywood Reporter called it "a muddled fantasy." He continued: "Lacking coherence and suspense, the picture is likely to attract a cult following while disappointing Coppola's fan base," which confused me, as I would think that Coppola's fan base is no bigger than a cult nowadays. The review in Screen Daily, as quoted by Sasha Stone at Awards Daily, described it as "an amateur production in the true sense of the word ... overall it is a jumble of half-baked metaphysical musings and disjointed story threads."

The positive review came from Emanuel Levy: "This challenging, complex, provocative, richly-dense but utterly uncommercial, film demands concentration due to its non-linear text and lack of conventional characters. Which means that it will not only sharply divide film critics, but also face hard time bringing audiences to see it." Really, none of this should be surprising, since way back in early September, A. O. Scott of The New York Times introduced his interview with the director by referring to the film as "a complex, symbol-laden meditation on the nature of chronology, language and human identity." Yet he also said "It bristles with restless, perhaps overreaching intellectual ambition, and without being overtly autobiographical, it feels intensely and earnestly personal." I can't wait for the critical debate to begin in earnest. Youth Without Youth opens in the US on December 14, courtesy of Sony Pictures Classics.

Down-on-his-luck private eye Tam (Aaron Kwok) is asked by a man to find a woman who is trying to kill him. Tam takes the case but instead of locating the mysterious woman he starts turning up dead bodies. Welcome to the off-kilter world of The Detective, directed by Oxide Pang. He and his brother Danny Pang made Bangkok Dangerous, which they are remaking in English with Nicolas Cage, The Eye , which is being remade by two French directors in English with Jessica Alba, and The Messengers, which isn't being remade because it was shot in English and made a good deal of money in relation to its budget.

The Pang Brothers are quite prolific; in the last five years or so, they've made three other films together as a team, Oxide has directed four others on his own and Danny has made three solo efforts. I very much enjoyed the energy and style of Bangkok Dangerous and The Eye, admired certain elements of The Eye 2, and was bored silly by The Messengers, but I haven't seen their other work. The Detective opened strong in Hong Kong last week, earning HK$1 million on its first day of release, according to Hong Kong-based entertainment news site batgwa.com. The Detective also opened in Singapore last week and opens today in Malaysia. Reviewer Kozo of LoveHKFilm.com calls it "more of a ride than a complete experience, but Oxide Pang puts together a very enjoyable ride." Stefan Shih of movieXclusive.com had some reservations yet wrote: "still recommended for the visuals, sound design and [Aaron] Kwok's charismatic one man show." The film also received a positive nod from Cammy Zulkifli of Cinema Online in Malaysia.

Aaron Kwok has been a romantic pop idol for many years while also starring in movies in which his dramatic talents have sometimes been questioned. Entertaining blogger Soupdragon commented in her review: "He's an obsession just biding its time before it takes over all over again. ... Sometimes you rediscover [old obsessions] and find it's going to be a blatant case of not-stalgia ... Other times you remember exactly why they were obsessions [in the] first place. This is a clear case of the latter." She puts the film on the top of her list for 2007. Sadly, The Detective doesn't appear to have North American distribution yet.

Opening night of the Toronto International Film Festival is reserved for a Canadian title, to give the mother country a chance to shine before the spotlight is divided among dozens of (usually) higher-profile films. This year, Jeremy Podeswa's Fugitive Pieces was selected for the honor. Anne Thompson of Variety wrote a good profile of the director. A capsule review in the Toronto Sun noted that it was "not a festive way to launch" the festival, "but this haunted and haunting drama signals a year of seriousness and quality."

Writing in The Globe and Mail, Rick Groen called it a "good movie" and "an even better example of what the movies do more easily, more powerfully and more indelibly than any other medium." Peter Howell of the Toronto Star felt it was a "smart choice to open the fest ... yet for all of the merits of Podeswa's painterly approach to Michaels' source novel, Fugitive Pieces seems curiously drained of drama. The message is uncertain." NOW Magazine has a capsule view which comments favorably on the cinematography and the performances.

James Berardinelli of Reelviews described Fugitive Pieces as "forgettable." He said: "The film has lofty goals, but comes across as leaden and pretentious." Jeffrey Wells of Hollywood Elsewhere attended the press screening this morning, though he didn't last very long: "I was out the door after 30 minutes, but I was looking at my watch after the first 15 minutes. I don't care if it kicks in at the one-hour mark or whatever -- I won't sit through films like this." Wells is not a fan of lead actor Stephen Dillane: "He kills each and every film and play that he's in with his withered, crinkly-faced dweeby-ness." Look for a review from our own Ryan Stewart a little bit later -- assuming that Ryan didn't get run over by Jeff Wells on his locomotive race out of the theater.

Triangle is hard to explain -- you could call it the Hong Kong action equivalent of Grindhouse -- but it's three directors, not two, and it's all one story, not two separate ones. Directed by Tsui Hark, Ringo Lam and Johnny To, Triangle is about three friends -- antiques seller Mok (Sun Long Hei), young ne'er-do-well Fai (Louis Koo) and tightly-wound realtor Sam (Simon Yan) who, one night at their local bar, are offered a unique opportunity by a stranger who overhears their discussions of money problems. Help me, he says, and you won't have any problems anymore ... and then he gives them a single antique gold coin, with the implied promise of more. Triangle doesn't open quite that cleanly, though, and it doesn't stay simple; it's a snake's nest of debts, crimes, secrets and duplicity that moves like a rocket, and any fan of Hong Kong Action will adore it.

Hark, Lam and To have all made great Hong Kong action films -- movies that have more spirit than most Hollywood action flicks, and on a far lower budget. And Triangle may feel scattered -- there's a lot of plot points and ideas that fall by the wayside, and some of the characterization is a bit sketchy -- but it never feels schizophrenic. Hark, Lam and To each directed a separate third of the film, each working with a separate set of writers -- but while a connoisseur would probably point out sequences and moments that are very To or Lam-style or Hark-sian, the movie for the most part feels like a coherent whole.

Even if the film festival guides hadn't reminded me that the low-key indie comedy American Fork came from one of the Napoleon Dynamite producers ... I think I might have figured it out on my own. That's not to say that the films are all that similar, really, but that they both feature main characters who are grown-ups on the exterior and trapped in a state of perpetually unpleasant adolescence beneath the surface. Not particularly deep beneath the surface, either.

First-time screenwriter Hubbel Palmer stars as Tracy Orbison, a 6-foot-4-inch massive mound of a young man, and one who has only a few minor things going for him. Tracy seems to enjoy his dead-end job at the local supermarket, and he's got a mother and a sister who genuinely seem to care for the guy, but beyond that Tracy is as insecure, immature and rudderless as a guy can possibly be. The clueless yet strangely ingratiating misfit bounces from hobby to hobby and from acquaintance to acquaintance, desperately looking for something (and someone) to share his time with. Failing that, the guy simply loves to jot away in his journal.

One of Tracy's more recent obsessions is that of acting: He tries to befriend a local actor, a jackass who turns out to be as arrogant as he is insincere -- and Tracy greets the eventual disappointment with a sigh known only to the frequently disappointed. Then he tries to befriend a teenager who just started working at the supermarket -- but the kid's sleazy friends abuse Tracy's good nature in a really terrible way. And then come some seriously unpleasant accusations that have Tracy ducking into alleys, afraid to even show his face in his own neighborhood.

Just three wide releases this weekend: A deep-south drama about an angry man and his unhappy captive, a nose-pickin' comedy about morons on motorcycles, and a lengthy crime flick about a true-life serial killer.

Black Snake Moan -- 63 positive / 38 negative at RottenTomatoes.com

Pro: "In fact, I pretty much enjoyed the whole movie, with some incredulity and a few half-snorts." -- Roger Ebert, Chicago Sun Times

Con: "It's an exploitation film fraught with faux-sincerity, and ultimately it's utterly ridiculous." -- Moira Macdonald, Seattle Times

Pro: "If you stick with it, you'll see that its excesses are earned and that this is a heartfelt, thoughtful piece." -- Kevin Laforest, Montreal Film Journal

Con: "Its consciously far-fetched, out-there notions of the things damaged people do in the name of love are reductive and go only so far." -- Michael Phillips, Chicago Tribune

Bonus! "The film succeeds because underneath all the symbolism and the outrageous window dressing, we can glimpse real people in the characters." -- Jette Kernion, Cinematical

Wild Hogs -- 12 positive / 68 negative at RT.com

Pro: "These "Mild" Hogs get by on being good-natured, and willing to trade a little star power for the chance to ride and get paid for it." -- Roger Moore, Orlando Sentinel

Con: "The movie never rises to the level of the professional, much less the comic." -- Stephen Hunter, Washington Post

Pro: "Plays as a pleasingly broad diversion, provided one's level of anticipation is properly adjusted downward." -- Brent Simon, FilmStew.com

Con: "It does absolutely nothing, save for what you know it will do, and it does this with only an absolute bare minimum of exertion, with absolutely no exceptions." -- Geoff Pevere, Toronto Star

Bonus! "You can't help but wonder whether folks like Macy, Liotta and Travolta lost a bet." -- Erik Davis, Cinematical

Five wide releases this weekend, and perhaps the final frame in which we're offered little but studio holdovers and lost causes. Dig into a haunted house story, a historical drama about abolitionists, a family-friendly inspirational piece, a Jim Carrey psycho-thriller and the big-screen debut of some very silly police officers. (And don't forget about the Oscars tonight!)

The Abandoned -- 3 positive / 8 negative at RottenTomatoes.com.

Pro: "Rallies in the end and has a satisfying, fittingly unsettling conclusion." -- Staci Layne Wilson, Horror.com

Con: "A punishing dose of zombie Chekhov for lifetime Fangoria subscribers." -- Jim Ridley, L.A. Weekly

Pro: "It's the pervasive sense of fatalism and decay that saves Cerda's debut feature from being yet another poky haunted-house chiller." -- Ken Fox, TV Guide

Con: "Reflects a filmmaker so lost in the details of his creation, he's neglected his obligation to forward momentum." -- Brian Orndorf, eFilmCritic.com

Bonus! "A fairly uninteresting story told in exceedingly spotty fashion." -- Scott Weinberg, Cinematical

Amazing Grace -- 52 positive / 23 negative at RT.com.

Pro: "This biopic of abolitionist crusader William Wilberforce gains much of its own force from the supporting characters." -- Josh Larsen, Sun-Times

Con: "A movie about the slave trade with hardly an African face in sight." -- Michael Booth, Denver Post

Pro: "As a portrait of political engagement, the movie is substantial and absorbing." -- Gary Thompson, Philadelphia Daily News

Con: "It's hardly compelling viewing." -- Desson Thomson, Washington Post

The Astronaut Farmer -- 61 positive / 40 negative at RT.com.

Pro: "Shows just how much you can accomplish with $12 million and more imagination than most big-studio releases can muster these days." -- Lou Lumenick, New York Post

Con: "Should be grounded for the twisted lesson it tries to impart." -- Claudia Puig, USA Today

Pro: "Works precisely because it's bereft of modern cinema's cynicism." -- Robert Wilonsky, Village Voice

Con: "It's one of those movies that yearns for a time that never really existed and ends up a chilly museum exhibit." -- Bill Muller, Arizona Republic

Bonus! "What makes the movie special are the personal touches." -- Jeffrey M. Anderson, Cinematical

Welcome to President's Day Weekend, where the multiplexes are stocked with a few pounds of new product, including an FBI espionage drama, a family-friendly kidventure flick, another Tyler Perry concoction, a flashy supehero epic and a sweet 'n' sunny rom-com. Dig in!

Breach -- 80 positive / 22 negative reviews at RottenTomatoes.com.

Pro: "There are some neat, almost delirious scenes of suspense, most of which play against cliche." -- Ty Burr, Boston Globe

Con: "A movie that urgently asserts itself as a spy thriller, but can never quite escape the Bureau's true preoccupation with who is getting the window offices." -- Bruce Newman, San Jose Mercury News

Pro: "While Breach plays effectively as a cat-and-mouse espionage thriller, its real drama derives from the murky moral and ethical frontier it crosses." -- Geoff Pevere, Toronto Star

Con: "The big suspense sequence revolves around whether Hanssen will notice that his briefcase has been moved a smidgen, hardly on a par with Goldfinger giving 007 a laser beam vasectomy." -- Colin Covert, Minneapolis Star Tribune

Bonus! "Has real excitement and true craft behind it, which is just one part of the reason why it's such a pleasure to watch." -- James Rocchi, Cinematical

Bridge to Terabithia -- 66 positive / 12 negative at RT.com.

Pro: "A painfully grounded tale of the stripping away of naivete that is adolescence, and how heartbreakingly excruciating an experience that can be." -- MaryAnn Johnason, The Flick Filosopher

Con: "One wonders if the makers of Bridge to Terabithia actually have something against all the people who loved reading Katherine Paterson's award-winning book as children." -- Chris Barsanti, FilmCritic.com

Pro: "Mark my words: it is that rarified breed of masterpiece with a shelf life destined to span many generations." -- Dustin Putnam, TheMovieBoy.com

Con: "The whole affair has been unnecessarily coated in computer-generated magical kingdom fairy dust, no doubt in deference to the perceived needs of a young audience in a post-big screen "Chronicles of Narnia" environment." -- Mary F. Pols, Contra Costa Times

Bonus! "A heartfelt, respectful and remarkably well-done film." -- Kim Voynar, Cinematical