Chuck Wilson

Captured extraordinary performances from a cast of non-actors, as well as magnificent images of a vast landscape.

Predictably, the jokes are raunchy, yet they're few in number, as if the writer's sleaze well is running dry. First-time director Mark Rucker has a nice feel for period detailing but fails to build on his star's rare flashes of high energy.

There's no denying the overwhelming force of the giant IMAX screen, as we're reminded that each of us is the coolest special effect ever.

A remake of the 2003 Korean horror film "A Tale of Two Sisters," The Uninvited is a Hand That Rocks the Cradle–type thriller that's been dressed up as a horror movie.

What's missing is any sense of why such a handsome man is afraid of women. That makes the premise hard to swallow, especially since Harrington is too commanding to be a believable dweeb. The actor does achieve moments of pathos, only to be undone by a silly script.

As with most of Toback's films, there are Big Ideas being bandied about that never quite coalesce, a failing that, this time at least, mirrors his hero's own hyped-out search for meaning.

Maintains a reflective, bittersweet tone that's almost tactile.

A truly dreadful sequel.

A well-made but emotionally scattered film whose hero gives his heart only to the dog.

Feast isn't the least bit artful, but it is gleefully gruesome, which may be all one can ask of a no-budget monster movie.

The superb ensemble never plays for sympathy, and the movie isn't as depressing as it may sound. Its hushed, contemplative quality is oddly affecting.

Accomplished and invigorating debut feature from Colombian-born director Patricia Cardoso that took both the Audience Award and a Special Jury Prize at Sundance this year.

Director Chuck Russell ("The Mask") keeps the computer effects to a minimum, emphasizing instead the essential ingredients of a Saturday-afternoon serial, namely, venom-tipped arrows, pissed-off cobras and a buxom babe.

Slow-starting but ultimately invigorating debut film by Craig Highberger.

No, this isn't an adaptation of Don DeLillo’s great 1985 novel, but a muddled talking-ghosts movie.

Initially amusing, ultimately wearying mock documentary.

For this violent yet gore-free film, clearly designed for horny teenaged video game wizards, writer-director Kurt Wimmer stages a succession of fight sequences that pit V against helmeted thugs who appear to have raided the Star Wars storm trooper costume closet.

Beautiful in its dark, contrasting blues and blacks, Underworld is nonetheless a remarkably humorless movie, and not even the adroitly hammy Bill Nighy, as the vampire king, can leaven the overwrought seriousness of it all.

Off sorority row, the movie goes flat for increasingly long stretches, with the filmmakers displaying so little understanding of or genuine feeling for the mentally challenged that they never advance past stutter-and-stumble humor.

Bad movies can be a hoot, but rather than campy, Ameer appears to be dead serious; and it's hard to feel anything but fury toward a filmmaker whose opening title sequence intersperses black-and-white flashbacks of his sexy young lovers with actual concentration-camp photos of stacked, emaciated corpses.

This film looks so good, thanks to some impressive production work (nice rainstorm) as well as Andrew Huebscher's vibrant cinematography, that one wonders, as one dull scene after another rolls by, why director Andrew Putschoegl - and co-writers Large and Kyle Kramer - didn't lavish half as much attention on the script.

A film free of political fury, but full of activist optimism, this tame but heartfelt documentary is a fine companion piece to a day at the science museum.

Strictly Urban Comedy 101, as if the filmmakers had neither the inclination nor the chops to move the genre past timeworn stereotypes.

Mountain Patrol: Kekexili is sometimes slow going, yet it builds in power as nature begins to take its toll on the patrol, and its cumulative effects are haunting.

The director and her capable cast appear to be caught in a heady whirl of New Age–inspired good intentions, but the spell they cast isn't the least bit mesmerizing.

Filmed in Iceland, Beowulf & Grendel is beautiful, grungy and a little too tasteful for its own good. You can practically feel the filmmakers yearning to have Beowulf and Grendel go all Rambo on each other.

(Emile Hirsch) a miraculous young actor.

Zoe is lively and an astonishing athlete, but it's Jeannie who gives this film resonance.