Gemma Files

Not quite good enough to leave more than a vaguely pleasant, vaguely disappointing aftertaste.

One way or the other, there really is something to be said for a movie which seems to revel in its own inherent comic-book silliness.

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

Kusama understands her subject intimately, and it shows.

Nothing less than stunning: a slapstick ballet of choreographed buffoonery.

This is half a good movie held hostage to the other, trashier half, and unfortunately for all of us, no rescue seems forthcoming.

This is independent acting (and movie-making) at its best -- true, tight, anything but trite.

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.

No classic, but two hours well-spent nonetheless.

Mehta's latest release, combines a similarly intoxicating visual immediacy and delight with a sobering outsider's long view.

Valentine simply mines the same tired, predictable slasher-movie vein as everything else he's (Blanks) done thus far. Send this one back unopened.

The kind of thing Franz Kafka might have dreamed up, had he only had access to a daily dose of MTV.

Visually stunning but emotionally shallow.

A nonsensical mishmash.

Expertly done, and a real joy to watch.

Langorous and oddly detached... a mess.

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

Good intentions, bad writing.

Good vs. Evil For Dummies....and I, for one, dislike being treated like a Dummy.

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

Borderline incoherent.

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

An almost total waste of time.

Retains enough of Soderbergh's usual indie sensibility to make some sly but contentious points.

Sunshine's historical reference-heavy narrative walks a fine line between novelistic tragedy and comically overstated melodrama, falling down on the job more than once.

You'll definitely feel cheated -- especially when you keep on finding yourself thinking how Mulder and Scully would have handled it all.

Flirts with the idea of insight.