Luke Y. Thompson

Paradoxically, this technique both keeps you from getting to know the soldiers better and puts you completely in their boots, understanding directly that (as one character puts it) war is boredom punctuated by moments of sheer terror.

The Mind's Eye ought to hit the sweet spot for fans of early David Cronenberg, the more violent X-Men comics, and the kinds of indie horror movies Larry Fessenden always cameos in, as he does again here.

Director Ali Abbasi excels at atmosphere, understanding that any beautiful landscape can be made terrifying with the right sound design and that a cut to a silent interior can be as jarring as any jump scare. His script, unfortunately, is not as interesting.

King's decision to co-write the script and turn it into a CliffsNotes version of The Stand only makes things worse.

You think you can guess what happens next, but the beauty of Tim Godsall's film, adapted from a play by Carly Mensch, is that it eschews the obvious arcs and come-to-Jesus moments of your typical Bad Dad pics.

The slow build of the action is deceptive, as at first the martial arts are all in the editing.

The movie's not without moments of genuine humor--no comedy starring Steve Martin could be--but sad to say, his Oscar-hosting gig two years ago was funnier.

If Alfred Hitchcock were retarded, lobotomized, and freshly dug up, he might possibly c--- out a movie like this one.

Try to forget about Michael Gambon in Potter's original BBC miniseries; Keith Gordon's film is its own thing, full of Brechtian artifice and oddball humor -- Mel Gibson's old man act in particular.

Beautifully shot and finely acted movie.

Of all the various low-budget documentaries chronicling the Star Wars phenomenon, Tariq Jalil's is certainly the most recent. There's not a whole lot else to say about it.

If you were ever in marching band, you'll love this; if not, stay far away.

Writer-director Daniel Taplitz seems to be trying to invoke classic screwball with this convoluted setup, but it plays like mediocre sitcom.

Almost two and a half hours long, and mostly consists of calm conversations. But don't be deterred, or you'll miss out on a study of character, class and changing times that puts Robert Altman's stodgy "Gosford Park" to shame.

This movie is, essentially, porn, and whether it's a turn-on is likely to be subjective to each viewer. Those who find traditional porn too artificial should be pleased.

Film falls into the same trap as the book: a moderately interesting setup ultimately undone by an ending that makes the audience feel like fools for investing any sympathy with the characters.

All in all, a respectable and predictable adaptation.

The animation looks good, especially when CG-enhanced, but the Rugrats babies' constant snot jokes, bug-eating and "cute" mispronunciations grate after a while.

The musical numbers are energetic and fun.

Props to translator Nigel Palmer for keeping the subtitles witty instead of blindly literal.

Lansdown has a pretty good score by Atli Orvarsson... Nope, nothing else nice to say.

It's not a terrible premise -- It is, however, terribly executed.

That sweet streak has grown, like a cancer, and gradually killed off any of the edge their (Farrellys) humor may have once had.

May not have the best script in the world, but it brings Jet Li to the big screen in a way that all action junkies, not just the video-store geeks, will appreciate.

Don't go to this movie looking to be actually scared, but as a gothic romp it's surprisingly effective.

You probably saw this film the last time around, when it was called "Sleeping With the Enemy." This one merely adds a better car chase and more ass-kicking.

When the movie works, it gleefully skewers the clichés of the buddy cop genre... When it doesn't work, it's exactly what it purports to be lampooning--a lame, boring cop buddy movie.

It's moderately compelling drama, but also fairly static stuff, image-wise.