Jonathan Foreman

A witty and quietly charming road comedy.

The gleeful teen-horror spoof that proves that the Farrelly brothers have no monopoly on outrageous, politically incorrect comedy.

All of the characters in this story of love, guilt and redemption feel like real people, facing real dilemmas, and you truly care about what happens to them

It's a thinly disguised lecture about intolerance, spotted with historical inaccuracies and groaning with dialogue so dreadful that it makes a fine cast look ridiculous again and again.

One of those rare recent films whose emotional power resonates long after you've left the theater.

A rare and welcome reminder of how original, provocative and moving a low-budget independent film can be.

Courageous, convincing performance by Dunst.

About two-thirds of the way through, a stupid, hyperbolic sensibility takes control of the project, running it screaming off the rails.

Looks and feels like a bad imitation of "Trainspotting" without any of that film's wit or charm.

As entertaining as it is amazingly faithful.

Bland, occasionally funny.

Fascinatingly, many of the interviewees disagree vehemently about Holmes' personality: some of his co-stars and colleagues found him repellently abusive and selfish.

It's not to say that the adolescent humor isn't funny; some of it is hilarious. It's just that this movie lacks the overarching comic sensibility that made "Mary" and even Adam Sandler comedies like "Happy Gilmore" and "The Waterboy" so satisfying.

It's unfortunate that the people DuBowski profiles tend to be self-indulgent or otherwise unappealing. It's still more unfortunate that the film focuses more on relatively easy issues of acceptance.

But given the potentially gripping subject matter, the film is fatally underedited: Every scene feels too long.

When it was first performed in theaters a couple of years after the L.A. riots took place, Twilight: Los Angeles must have been very powerful. Unfortunately, director Mark Levin's filmed version lacks that impact.

Eyes Wide Shut is Stanley Kubrick's Hindenberg.

Best watched while doing a crossword or reading the paper.

Unfortunately, you really only hear about prostitution from the side of the pimp.

Everything about National Security is so lazy and uninspired, it's hard to believe that director Dennis Dugan also made "Happy Gilmore," arguably Adam Sandler's funniest movie.

It is worth catching The Singing Detective to see the brilliant Robert Downey Jr. in another extraordinary performance... Unfortunately, the film itself doesn't really work despite its lineage.

A pathetically inane and unimaginative cross between "XXX" and "Vertical Limit," it could only harm the careers of everyone involved in its making - including top British stage actors Rufus Sewell and Rupert Graves.

With its endless takes of characters silently waiting, say, or getting out of bed, this is the kind of film that can be seen only after a full night's sleep. But it is also clever, funny and sometimes moving.

This movie, cynically and patronizingly aimed at Seagal's predominantly "urban" audience, is sad, tedious proof that even violent exploitation isn't what it used to be.

Not only is Adored amateurish and mawkish even by the standards of American "gaysploitation" cinema, it's weirdly shy about showing nudity and sex.

While the film contains some terrific, realistically bloody battle scenes, it has a distinctly Germanic feel, both in its epic heaviness and in the peculiar way it revises the history of the American Revolution.

Visually gorgeous despite its low budget, The Terrorist is a haunting film.

Even the lovemaking scenes between two of Hollywood's most attractive stars -- often shot from above, like Cinemax soft porn -- are so unerotic, they make your skin crawl.