Phil Hall

This much-ballyhooed gay cowboy melodrama is an inert disappointment.

At the risk of being called an anti-Semite, I would like to propose a moratorium on Holocaust movies -- While it would be crass to discount the importance of the subject, at the same time one has to admit there is some degree of excess going on here.

This is a curious example of taking a hair-raising story and draining the drama from every corner, leaving it a bit flat and ultimately forgettable.

The film's screenplay is thick with major lapses in logic, resulting in a story that ultimately makes little sense.

Alas, the big screen also magnifies the problems with Once Upon a Time in the West. Specifically, Leone’s insistence on style trumped the need for substance. The film is basically a B-Western stretched an agonizing 165 minutes.

A stirring and touching production, and it is difficult not to be moved by the women’s medical progress. However, it suffers from a somewhat leisurely pacing.

Achieves the impossible by taking one of the most compelling and harrowing stories imaginable and channeling it into one of the most ordinary movies of the year.

While the film is admittedly imperfect, it nonetheless deserves to be seen by all Americans to provide a clear understanding of what kind of a country we are currently at war within.

The film presents the Rwandans in the worst possible way: venal, corrupt, vicious, stupid, barbaric and completely incapable of governing themselves. Honestly, I've seen more intelligent and sympathetic depictions of Africans in Tarzan movies.

While the images presented here are peerless, James Nachtwey is a fascinating individual and it is a shame we cannot learn more about the man behind these extraordinary images.

While the Raymond Burr sequences and the subsequent clumsy English dubbing of the remaining Japanese footage made the U.S. version an unintentionally funny movie, the complete Japanese version is an unfunny bore.

A documentary which wobbles and weaves as much as often as it soars.

Even if you love all things Yiddish, there is precious little to embrace here.

Yiddish Theater: A Love Story is a slight but moving documentary focusing on the final performances given by Zypora Spaisman, the Polish-born star of New York’s Yiddish theater.

Rich with compelling, often heartbreaking stories.

Rarely has a film been cast with so many gifted performers who are either wrong for their roles or are given nothing to do.

What’s a muscular guy like John Cena doing in a flabby movie like this? This connect-the-dots action-adventure may appeal to undemanding ten-year-old boys but will bore everyone else.

Although not a great film by any stretch, it is a fascinating slice of a fractious period in American history.

This is clearly not a pleasant film to watch on many levels.

Sometimes Duck Season is amusing. More often, though, it is boring and icky.

The only obvious question that Oswald’s Ghost raises is: how come Mort Sahl wasn’t in the movie? (If you don’t get that joke, you need to brush up on your Kennedy conspiracy lessons.)

A good film, but it should’ve been a great one.

The film is a bore.

Chinese filmmaker Zhang Yimou has created so many memorable films (most recently the wuxia double-play "Hero" and "House of Flying Daggers") that one can easily excuse his new clinker Riding Alone for Thousands of Miles.

A well-intended but hopelessly ill-focused documentary which wants to be the "That's Entertainment!" for the New York theater but seems like a hodgepodge of anecdotes, factoids and moldy memories.

So ham-handed and relentlessly overbaked that it is easy to see why audiences initially stayed away from it. Just when and how did anyone come to see this as a classic?

In throwing hatchets at Murdoch and his silly Fox network while pretending the rest of the media world is fine and objective, the film comes across as a shrill, one-note slam against a very easy target.

Filmmaker Hany Abu-Assad, who helmed the excellent "Rana's Wedding," missed the boat on this one. He may have hoped to give a human voice to the suicide bombers, but instead he gave them a misfired movie.