Kevin Crust

Plunges into an abyss of gruesome imagery so repulsive it precludes further watching.

It plays less creepy on-screen than it sounds, at least in part because Herzlinger is an extremely likable guy and he goes to great lengths to avoid appearing to be a stalker.

The dark sequel offers gorgeous images, with an updated and stylish design, but its characters' angst gets in the way of storytelling.

Has little to offer in the way of entertainment or originality.

Adept at wringing maximum suspense and might have reached the heights of the Korean monster film "The Host" but for the limitations of the camcorder ploy. While it injects the film with a run-and-gun urgency, the device grows tiresome and ultimately leaves the film shortchanged.

Chrystal unravels a bit toward the end as it becomes more fable-like, but the performances make it worthwhile.

As compelling as the music and concert footage is, it is the vitality of the performers as characters that enables the movie to transcend the music documentary genre.

Loud, proud and cheeky, the film runs roughshod over corporate behemoths Disney, Starbucks and Wal-Mart as it preaches a sermon of simplicity and consumer awareness.

Moved to take charge by something like chivalry, Rambo hits his stride in the film's second half, meting out justice in an unjust world and ultimately the movie works best when warbling its out-of-tune greatest hits.

Director Wong is at his best in this rerelease of the 1991 film.

Based on the real-life exploits of Munro, it's a boilerplate fish-out-of-water/road trip/underdog sports movie -- but it's a heck of a ride with Hopkins leading the way.

There's nothing particularly revelatory about the interviews recorded over a two-month span, but there's an intimate quality that gives the impression you're listening to a private conversation, which, in a sense, you are.

There is nothing extraordinary about the filmmaking, but Mashayekh's old-fashioned commitment to his and co-writer Belle Avery's story creates an overall satisfying experience.

The film strives for some type of a girl-empowerment message that equates trading one type of conformity for another with self-determination but muffs the dismount and stumbles on the landing. In other words, it fails to Stick It.

An entertaining film that is neither stuffy nor pretentious.

An oddly appealing, if innocuous, movie of considerable charm.

Writer-director Nic Bettauer hits upon some important themes, including homelessness, environmentalism and the plight of the elderly, but not enough care has gone into developing the subsidiary characters who merely come across as types.

Despite the creakiness of the vehicle, there are some genuinely funny moments and observations.

Terrific performances and a bleak, riveting look at life on the economic fringes eventually gives way to an overly familiar tale of abuse, denial and catharsis that feels like warmed over Sam Shepard minus the poetry.

A movie-of-the-week treatment of race and class, the film credibly portrays the day-to-day workings of an urban ministry.

The film is strictly straight-to-video action movie stuff, albeit with dialogue in iambic pentameter.

Bisexuality certainly increases the geometric possibilities of the romantic comedy, completing its triangles and allowing for quadrangles and other, more amorphous layers of amorous involvement.

Despite the grim Cold War environment, Schlöndorff blends, mostly successfully, goofiness and melodrama into the overall social realist tone.

A forceful documentary set against the 2004 Haitian coup d'état that toppled the government of President Jean-Bertrand Aristide.

A thoughtful and provocative look at a previously little-seen world.

The presence of the two actors and the film's mordant sense of humor buoy the downtime between bloodbaths and genre fans may find enough to love here.

Freeman and Nicholson make the most of Justin Zackham's script, but there just isn't enough substance behind their characters to prop up the carpe diem platitudes. The result is a semi-comedic, geriatric "Brokeback Mountain" minus the sex and with a Himalayan summit.

The resulting film is a muddled, melodramatic, sort-of remake of "The Graduate."