Gregory Weinkauf

As a thriller, The Butterfly Effect is iffy and uneven, but as a portrait of a people, it's effective and intriguing.

For three jerks bitching in a box, Tape makes the most of its minimalism. At its best, it's Betrayal for the Breakfast Club set.

A mess, but it's a rousing mess, with ample humor and action to satisfy the discerning dullard within.

The stately pacing and meandering plot often reduce this potential classic to generous eye candy.

Like its namesake, this Simon Mágus is wise and elemental, sure to leave you pensive afterward.

Quills is bound to titillate some, but for most it's likely to summon little more than a few Oscars and appreciative yawns.

Director Mick Jackson (L.A. Story) delivers playful and charming teens-turned-30 moxie.

Hasty pacing makes for a rich and exciting movie, but not an especially spooky or spellbinding one.

Distinguishes itself by its subtlety and good taste. Even if we catch a hint of gypsy music on the soundtrack -- or glimpse a disturbing American neighbor lady -- Gardos steadfastly guards us from caricature. She wants to keep it real.

Nói makes a stab at tragic romance.

This modest project is all about atmosphere and reflection, and, as such, it is successful.

The songs are actually quite good--if also hideously embarrassing--but these comedians take their roles far too seriously, to their peril and our puzzlement.

Heavy with mood and Finn's fine music, Jeffs' debut feature merely moistens us when we should be soaked. Maybe next time she'll let it all come down.

Director Christopher B. Stokes (House Party 4) shapes up the fabulous dance sequences with undeniable energy, and real-life brothers Houston and Grandberry are two of the most enjoyable musicians to appear onscreen since Sting played a bellboy.

There's too much self-congratulatory showbiz overkill, and one is forced to wonder exactly who is getting paid, and how much, for leading this parade in his honor. Otherwise, this project makes it easy for anyone to understand the sanctified, semi-crazed star and the elements that created and destroyed him.

While this production from Michael Douglas is being touted as a sexy romantic comedy, it's more precise to think of it as big loud fun for when you're feelin' dumb.

Here's a popcorn movie with soul, welcoming the masses to consider how much can change in popular culture over 30 years, as the horrific becomes the familiar.

The creators of Alexander set out to make an epic, and they can't be faulted for the many elements that succeed on this scale; what's unfortunate is that they don't quite deliver a camp classic.

Ultimately, it's the hip cast that keeps things hopping.

A loud and ghastly movie to sit through and not short on gratuitous hideousness, but Darabont has also done his best to baste it with humanity and sweetness.

Visually it's wild fun, since fledgling feature director Len Wiseman started off in production design, and creature designer Patrick Tatopoulos's diverse credits span from "Godzilla" to "Stuart Little." Yet with Underworld's guilty pleasures come copious clinkers, from its nuts-and-bolts narrative foundation to Wiseman's inability to direct actors beyond cartoonish interaction.

Equilibrium improves as it rolls along -- either that or, ironically, it wears down the senses until the viewer succumbs.

Offers considerable charm and an obvious desire to please.

This Trinity may be the least of the three--sound familiar, Matrix faithful?--but it's the closest in style and attitude to a pulpy comic book, an art form that doesn't need to be lofty, perfect or even sensible to tickle a dork's fancy.

There's a somber tone to Petroni's work here--enhanced by Roger Lanser's shadowy cinematography and handicapped a bit by a schmaltzy Hollywood-type score--and there's also plenty of episodic life stuff.

While the movie is indeed touching and very politically significant, there's something peculiar about never learning exactly what made ace reporter Guerin so intensely obsessive about this topic.

The game is cool to watch, and the love story is assertive enough to hook even the stodgiest ESPN man.

Audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching, but otherwise the production is suitably elegant, a fine retreat from summer cinema overkill.