Gregory Weinkauf

This may sound an eensy bit hyperbolic, but dig: Mayor of the Sunset Strip is the greatest rock-and-roll movie of all time.

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.

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.

Since the narrative's destination is awkwardly obvious, and the tone occasionally melts into a sticky-sweet mess like cotton candy in the sun, the movie is most often saved by its generous helpings of clever dialogue.

Authenticity and plausibility get gunned down from the get-go, but if explosive shaky-cam ultraviolence and frequent extreme close-ups of greasy whiskers are your bag, this hyperactive wannabe may count as something of a score.

We're in for a long, unpleasant, reactionary ride.

What could have become a heinous TV movie instead delivers the moving and relatable experience of being an emotionally overburdened person stuck in a world that mostly sucks.

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.

Writer-director-actor Cedric Klapisch simultaneously shows great moviemaking flair and reveals a very peculiar worldview.

Not only is Undercover Brother the funniest spy-thriller since "The Nude Bomb" (oh, behave), it feels like the proper sequel to "The Blues Brothers," crossing all kinds of lines between cartoonish buffoonery and genuine compassion for its characters.

In this, Lee's most ambitious and successful work yet, his celebrated gift for psychological shading and complexity is on proud display.

Well redeemed by its dank atmosphere and cracker-barrel performances.

The resulting piece resonates upon the American condition, deliciously detailing the whimsy, violence, intolerance, and shallow fantasies that fuel this nation. Oh yeah, and it's funny.

A grand, old-fashioned epic, this project is every bit as important as "Gladiator" or a new "Star Wars" episode.

What's in it for you? Mostly a bunch of astronauts and cosmonauts onboard the International Space Station, floating around filming each other.

This is a sensitive, thinking person's movie with a lot on its mind.

Guaranteed to jolt viewers of a Norman Rockwell mentality well into the 21st century.

Nói makes a stab at tragic romance.

Technically, the movie occasionally rises to become awe-inspiring, and while sometimes you can smell the acting (especially from Matthes), the performances are often soulful.

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

A diverting mix of insight and spectacle, human and superhuman. This machine is built for kids, but rarely do words like "noble," "Hollywood" and "rawkin'" all apply to one movie.

This infusion of warrior philosophy is the gas in Ghost Dog's tank, and Jarmusch pumps it up for maximum octane throughout.

Nolte’s charisma transforms Neil Jordan's The Good Thief from a vague, mildly exotic, character-driven caper flick to a soulful and engaging misadventure.

The soul of Gladiator is made sluggish by a maddening lack of suspense.

This project is not the last word on Fellini, nor does it replace the director's bizarre self-portraits in Intervista or the TV special A Director's Notebook. It even irritates a bit, as none of the speakers is identified until the end.

This would be 10 times the movie if it featured an actual debate between Moore and Bush. Nonetheless, the man makes a remarkably strong case, tastefully inserting himself into the Bush-baiting only when necessary--one such stroke of brilliance involves personally urging congressmen to send their own kids to Iraq.

Those seeking a spiritual counterpart to the yin of Lynne Ramsay's masterfully moody "Morvern Callar" will find their yang in David Mackenzie's exquisitely sorrowful Young Adam.

We have a whole new reason to appreciate cinema's most creative chameleon (Depp) since Peter Sellers. The film itself is pretty and sweet but a tad soggy.