Gemma Files

A true achievement -- no matter who eventually wants to take, or deny, credit for its creation.

It's adult and humane, genuinely sexy, laugh-out-loud funny.

Horror presented without restraint or apology, as a full-bore, blood-soaked load of nomad nastiness caught in constant forward motion.

Expertly done, and a real joy to watch.

Sarandon prostitutes her blazing talent and sharp political sensibility to the service of a pile of misogynistic bullflop.

Actually funnier than the first movie, but getting to those parts requires a little bit of patient mental fast-forwarding.

A magic-realistic fable whose lows soon prove as infuriating as its highs are intoxicating.

But it IS enjoyable.

What ensues is never exactly unpredictable, but always witty, fresh and fun.

It's all quite precious, just not in a good way: "Postmodern" to a fault, deeply shallow, infuriatingly trite.

Mr Kumble: Keep your hands off the classics! You don't deserve to read them, let alone paraphrase them.

The lack of chemistry between he (Yun-Fat) and Foster is truly striking: so much so, in fact, that the strain of trying to manufacture some keeps her looking on the verge of outright illness throughout.

Like memories of your latest high, it's all briefly amusing, mildly embarrassing, and - ultimately -- completely forgettable.

Breaks virtually no new narrative ground, yet treads the familiar territory it does cover with grace, style, wit and fun.

Though issues of politics and philosophy are touched upon, this is a film about the people inside the uniforms -- a story of human beings under pressure, forced by circumstance to make choices both impulsive and, on occasion, heroic. It's also the new year's single most satisfying movie experience thus far.

A nonsensical mishmash.

Ends up suffering from the classic diseases of book-to-film adaptation: triteness, overreliance of narration, and a general "need" to impose classic dramatic structure on what is not a particularly dramatic narrative.

An unexpectedly adult emotional rollercoaster with some very cold and unsettling things to say about men, women, marriage, and the lies we so often tell each other.

Well worth the price of admission.

A tiny slice of bleak, black near-perfection.

Here in the rotting depths of pulp horror/adventure territory, that's the entire point of the exercise.

Ferociously inventive.

Not even Goldberg's near-flawless central performance can polish Kingdom Come beyond mere soap opera pap.

Mandy Nelson's sugar-high bright-'n'-cheerful script takes a series of easy ways out, avoiding completely the prospective pitfalls of having to see any of these characters as complicated, contradictory, not entirely nice or identifiable-with -- actual human beings, in other words.

Has its - very - occasionally funny moments, so does a car crash.

Silly in some parts, but sheer fun in most, Bootmen will get you wiggling in your seat with a big grin pasted on your face.

It doesn't really hang together. And waaay too much style. Pity.

Tired, overcomplicated mix of macho bullshit.