Inspired lunacy.

By the end of Bug, you may find yourself scratching yourself as well -- your head, that is -- wondering what the hell this is all about.

The Cursed may be a shaggy tale in places, but its bite is ultimately deep.

Like code that works but inefficiently, the length is both a feature and a bug. Mercifully, Ascher's most visually original movie to date keeps those TED lecture seat-shuffling blues at bay.

Speaking in a barely audible rasp bordering on monotone, Kidman bravely submerges herself in a performance with some genuinely harrowing emotional moments, and yet the unswerving conviction she brings to the role is conspicuous.

Not only the best date movie of the year, it's also a -- dare I say it twice -- delightfully charming -- and totally American, I might add -- slice of comedic bliss.

Seems as though its reach is always exceeding its grasp...partly because Kasdan spreads himself a bit thin amongst the nine major characters he's working with.

If anything, A Few Good Men errs by throwing almost too many elements, themes and moral debates into the mix thus, by default, they sometimes seem shallowly developed and overly simple. Then again, that perhaps allows them to connect with more universal experiences.

Much of the film is frankly ludicrous, but that does little to dispel its overall power and passion.

Shyamalan's premise is a lulu, to be sure, but if you can manage that precious, tentative suspension of disbelief, you'll find Unbreakable a rewarding meditation on the nature of heroes, both comic book and otherwise.

Puts an unusual spin on some of the clichés of the romantic comedy.

Provides lots of good information for newcomers to the cause.

Like its protagonist, Sleight is a scrappy, semi-super origin story that lacks the existential heft of, say, M. Night Shyamalan’s "Unbreakable," or the grim comic nihilism of James Gunn’s "Super."

Funny, bewildering, giddy spectacle.

Technically, I Am a Sex Addict is a stellar achievement, as it coaxes viewers to accompany Zahedi down avenues of sexual desire that have had little frank exposure on film.

It's one of the better sequels to come out in years, and although it doesn't pack the emotional wallop of the first film, it's still head and shoulders (and punctured eyeballs) above most of what's out there.

An additional change in the film's adaptation from Scott Phillips' novel substitutes the author's original ending for a redemptive conclusion that seems indicative of The Ice Harvest's unwillingness to really plumb the real depths of the darkness it has set in motion.

Quiet desperation, as Pink Floyd so adroitly observed, is the English way, and Ian McEwan's 2007 Booker short-listed novel On Chesil Beach is a soft-spoken but devastating reminder of that truth.

Take out the masked menace, this is still tense: Add them in, and it's stomach-churning. Brutal, smart, wild and mean, The Rental savagely reinvents the summer camp slasher for the vacation rental generation, and delivers a punchline payoff that will leave you reeling.

What Warriors of the Rainbow may have going for it most of all is Chin Ting-Chang's dreamy cinematography, which presents the native Seediq amid the sultry jungle greenery that brings to mind the absurdly lovely flora of James Cameron's Pandora.

The effects are reasonably well-created, though hardly transparent. The last 15 minutes of the film spins out into unimaginable realms. Fans of this kind of stuff will leave smitten; those accompanying them to the theatre will have a pretty good time too.

The Interpreter is ultimately fluent in many things, but an out-and-out thriller it is not.

There are so many underdeveloped themes that it’s not hard to see what Singer was trying to achieve, and how short he falls.

No one else could have made this version of The Monkey because of all those indefinable, immutable yet ethereal elements that make Perkins’ movies not just popcorn flicks but gourmet popcorn.

Filled with some marvelous dialog and quips delivered by some of the best in the business. There are worse ways to while away the time.

Amirpour could have reined in her penchant for laconic coolness at times, but where’s the fun in that? This fractured fairy tale of the marginalized have-nots and the bonds they forge continues the director’s obsession for the genre films she grew up with while adding her own contemporary sensibilities, and the result is an ultimately satisfying journey.

Edwards' crowning achievement. It is a wickedly funny, impeccably cast, ingeniously subversive satire of the Hollywood film industry.

Call it odious, call it repugnant, call it downright nasty – just don't call it dumb.