Ken Fox

As overstuffed as a twice-baked potato.

Through the hard-won experiences of these families, Karslake shows that Scripture and homosexuality are not mutually exclusive, and with the help of a number of academics and theologians, shows how the Bible has been misread, particularly during the 20th century.

It's actually a clever commentary on documentary filmmaking, an pretty good monster movie to boot.

The general level of mayhem, the sudden transformations that are Plympton's trademark moves and the pervasive irreverence will no doubt delight Plympton's legion of fans; others may find 80 minutes of these shenanigans exhausting.

Ichaso tells Piñero's story through a sometimes disorienting series of flashbacks and flash-forwards, fracturing the time frame to suit the film's internal rhythms, rather than any coherent time line.

This is pulp with smarts and a social conscience.

As the film makes pointedly clear, ALS is what is considered an "orphan disease," meaning drug companies aren't willing to devote their resources to finding a cure because they feel too small a percentage of the population suffer from it to make an effective drug profitable.

An exciting dramatization of the strange events that marked the turning of the legal tide against Big Tobacco, and a particularly dark moment in the annals of CBS News.

Chilean filmmaker Patricio Guzman's powerful and sometimes triumphant documentary is not only an excellent overview of the affair, but serves as the perfect finale to his monumental trilogy about the coup and its aftermath, which began with "The Battle of Chile" (1978).

It's all terribly trite, but Durst does make an effort to keep his film grounded in the reality of a lot of once thriving towns like the fictional Minden.

perfectly serviceable costume drama.

Who these brave men were and why they fought disappears under the usual clichés, while the astounding acts of courage that occurred at Ia Drang are lost to the dust and din.

Warm, funny and often brutally honest profile of an aging divorcee and her three very different daughters.

It's a bit of 60s idealism wedged in what basically looks like a hip-hop music video.

More gripping than anything on Court TV and unexpectedly uplifting.

The beautiful ice-blue landscapes are really the only reason to sit through this rambling and rather silly first feature by writer-director Sue Clayton.

Whether you take the film as a deliberately vile act of filmmaking that unpacks rape-revenge scenarios while making a point about male desire, or simply as a deliberately vile piece of filmmaking, one thing is certain: It's about as close to a physical assault on viewers as movies get.

It's a great part for a great actor and Cheadle does a magnificent job turning this living legend back into flawed, flesh-and-blood reality.

The rogue feminism of "Thelma and Louise," mix in some of "Rock 'N' Roll High School" punk-rock energy.

A bracing cover of Ian Tyson's "Four Strong Winds," performed by no fewer than seven acoustic guitars, rounds out the set, but be sure to stick around for the credits.

The sheer size of the production dwarfs the human drama.

Spin it however they like, the troubled but talented Lohan isn't what's wrong with this misbegotten mess.

Fred Frith's lovely and subdued score is a perfect accompaniment.

A chilling corporate thriller with an intriguing mystery on the surface and a deeply troubling idea at its dark core.

At a time when the images of Arab-Americans are already largely negative, do we really need more violently temperamental, bomb throwing men in turbans and beards?

Not since Larry Clark's "Kids" (1995) has the threat of HIV infection been used so gratuitously, driving a narrative that ultimately has nothing to do with the AIDS crisis.

It's alternately stimulating and exhausting.

Too lazy to play your own d--- video game? Lucky for you there's horror director-for-hire Uwe Boll, who's making a career out of adapting successful Atari and Sega games into tedious popcorn fare that's the ultimate in cinematic passivity.