A terrific piece of work.

The real problem isn't that Anacondas is bad – it's just so bland, so unremarkable, so by-the-numbers, and so instantly forgettable that bad might be a step up.

This is a movie that should have bypassed the theatres and gone straight to DVD. It is offensive on so many levels.

Instead of building suspense and tension, Suspect Zero devotes its efforts to creating a weird and creepy milieu that will leave fans of police procedurals wanting and avant-garde enthusiasts scratching their heads.

Clearly the film is archly trying to connect the dots between Rove and the supreme mishandling of Iraq – and a compelling case might be made – but it isn't made here.

Director Brill makes no stylistic advances from his recent work with Adam Sandler (Little Nicky, Mr. Deeds), and shows no signs of seeking growth or improvement.

The sentiment is saccharin; the plot is … well, let's be generous and say unambitious.

Sloppy, confusing, and dull as a dented crucifix.

The film stumbles a bit in its third act, when war kills the good times for good.

You can't help but feel conflicted watching this superb documentary about the seminal New York-based punk rock vanguard, the Ramones.

It gives the creeping sensation that this is going to be a talking-heads documentary, which Greenwald delivers in spades.

A meticulously-researched chunk of underground Americana that traces the poet's full life from his rather dysfunctional childhood (beneath the hoary shadow of his mentally ill mother) to his meetings and eventual friendships with Kerouac, Burroughs, Neal Cassady and other Beat luminaries. (Review of Original Release)

Not uninteresting, and it is very nicely performed, although you'll strain to learn from the movie the history on which it is based and struggle futilely to get inside the motivations of its characters.

Like a kindler, gentler "Bully," Mean Creek hinges on the bullied fighting back against the aggressor, but offers a more expansive examination of aggression and, even more significantly, passivity.

The slowness of the film's first half will be off-putting to many, but the film's turns and final twist will reward the patient.

This space invaders stuff is, like, so 1981.

It’s a lot like hearing the play-by-play account of a heated game of bridge. Only not half as gripping.

A pretty spot-on distillation of human weakness, but my god, must they all be so inhumane in the process?

Two hours pass painlessly enough, thanks to the affability of its trio of leads, Hathaway, Andrews, and Elizondo.

It's a pleasant enough ride, certainly, but in the end it also has all the wicked emotional punch of Bill Cosby on Quaaludes.

Ruffalo makes a dent as a dogged narcotics detective, and the Spanish superstar Javier Bardem appears as a crime boss. Overall, however, Mann seems content to play games with his fast cars, cool streets, and loud rock, leaving Collateral squarely within the action genre.

Little Black Book isn't your run-of-the-mill romantic comedy – it's much worse – and, rather disgustingly, the devils on earth it unmasks are all female and vindictive.

Cyberpunk meets renegade romance, à la Orwell.

Ultimately, it's 79 minutes of footage of a pair of petty, pretty people freaking out over having to go to the bathroom in their wetsuits, and in the end you find yourself rooting for the sharks.

Greenwald's doc is pure partisan warfare of the liberal stripe, to be sure, but that doesn't make it any less disturbing.

We've come to expect each new Demme film to percolate to an urgently musical beat. (The Manchurian Candidate also features a few cameos by musicians as diverse as Robyn Hitchcock and Fab Five Freddy.)

With its eye-popping color palette and surreal sense of ever-heightening melodrama, Thunderbirds comes across as "Spy Kids'" poorer British cousin.

It's exasperating watching so much top-drawer talent wasted in a film that wraps itself up with one of the most preposterous (not to mention obvious) endings the genre has ever seen.