Kim Morgan

Daring work of genius.

Westfeldt becomes irritating. That's one of the film's points, but it's made a little too well.

The film moves too slowly and dispassionately to resonate as it should.

Intriguing, containing a truthful kernel of sweetness, rot and brutality that will shock many.

Has many puff-piece moments to it and barely touches the controversy surrounding Tupac's death or that of rival hip-hop impresario Biggie Smalls. But it's engaging nonetheless.

Bad comedy.

Goes overboard in its presentation of supposed reality.

In its own slightly disturbing way, this psychological thriller serves as an absorbing diversion without sapping brain cells -- almost the perfect summer movie for smart people.

Though you get caught up in the criminal element (you really want these people to get away with it), you're also fascinated by who to trust. It's an unusual dance between the awkward and plain that becomes romantic and thrilling -- a subtly impressive feat to say the least.

The performances are uniformly fine, with Perez showing a heavy amount of presence and complexity. It's no wonder the film works best when fixed on his face.

Feels more TV movie-of-the-week than Oscar contender.

Starts out dark, thrilling and inventive, then, regrettably, becomes sappy, mainstream and mundane.

A hilarious, sad and sometimes-inspiring documentary directed by Fenton Bailey and Randy Barbato, the film is an all-out Tammy valentine -- campy, dramatic and, of course, makeup-smeared. And better than any melodrama you'll see this year.

Understands that extreme feelings bring out weird reactions. Tension and sadness will occasionally be interrupted by humor -- even slapstick.

One of the most wearisome "high adrenaline" movies to come along in a while.

It's an interesting effort (particularly for JFK conspiracy nuts), and Barry's cold-fish act makes the experience worthwhile.

There are many merits to the picture -- it's wonderfully shot and boasts a beautiful performance by Eul-Boom, who acts in gestures of subtle dignity and compassion. But it's questionable how we're to take actor Seung-Ho.

Lacks the perfect timing, luster and true vitality of its predecessors.

A film that merges cocaine, Ivy League, college applications, the Asian American experience, dark comedy and high school drama while maintaining a personal tone and likable lead characters is just too impressive to knock.

For those who've seen the original, no surprises will be unearthed other than an altered story (not for the better) and more gore.

Though the picture has a generic quality, it also has an ingenious amount of anything-goes that's amusing and frequently exciting. You'll laugh out loud, you'll hide your eyes -- but you'll roll them. too. Nevertheless, it's a fun, if blood- and sun-soaked, ride.

It's a heap of contradictions that will leave your head spinning.

Has a curious train-wreck quality to it that keeps you watching and thinking. (Even if you are thinking things like, Why were these lines ever written? When you hear the "turkey" line, your jaw will drop.)

Seems deeply influenced by American film noir, the Western fairy tale (in this case, mermaids) and the works of Alfred Hitchcock in particular.

The "Citizen Kane" of rat movies makes for a terrific overhaul in this wonderfully entertaining and, yes, touching take on that terribly confused man/child named Willard.

Though Michael Winterbottom's Wonderland appears as gritty as they come, it uncommonly has a romantic heart.

A picture so powerfully harrowing, its slight shortcomings are forgettable compared to the entire film's cumulative effect. It's that searing.

Lopez is fine, sometimes quite funny, but she's better playing the take-no-prisoners planner than a goofy, insecure dork.