There's a place in life for movies like this – goofy and lowbrow but never truly icky; the good guys are lovable losers and the bad guys have frosted feathered hair and unitards with inflatable codpieces.

Knoxville, in his first dramatic role, does what he can with script and direction that aggressively eschew any insight into Kaufman's grief.

Only a devotee of the original film or a hardcore sourpuss could find serious fault with this world romp.

Consisting of five years' worth of interviews illustrated by a mountain of archival footage, the film sails on the actors' consistent ability to spin a good yarn.

The pleasure of The Chronicles of Riddick comes mostly from the fascinating and outlandishly detailed production design, which sprawls across the screen in nearly every shot, with the Necromonger’s gigantic starships looking similar to those strange stone heads on Easter Island.

Misbegotten is the only way to describe this remake of the 1975 film based on Ira Levin's cultural-zeitgeist novel.

You'd have to be a real a..hole to hate this movie, loaded as it is with adorable animals. Sadly the task falls to me.

For older and more reflective viewers, it’s a quirky, fresh slice-of-life more inviting than a tater-tot pyramid.

The movie is slight but transfixing.

With an over two-hour running time, these side issues come across as unnecessary weight and threaten to turn off the very viewers the filmmakers worked so hard and so ably to win over in the first place.

It helps that J.K. Rowling’s third book in the series is full of spooky stuff that translates beautifully to screen.

The bulk, the heft, and the girth of Bukowski: Born Into This arrives in the form of the author himself, giving beery readings to Berkeley audiences clearly enjoying a contact high or sitting, ill-kempt but quiet, pensive, Heineken in one yellowy paw, in his apartment.

Excruciating in the extreme, this is the nadir of urban comedies thus far: a trashy, crass, and painfully unfunny airline disaster of a film.

While Saved! initially gets in some good gags at the expense of religious hypocrisy, it eases off, opting not to skewer religion but rather to poke it gently with a stick to see what happens.

A certain inevitability hangs over The Mother – as if any of this could end well – but if Kureishi's framework is perhaps predictable, his knotty, complex characters are not.

Among the many things that Baadasssss! is, it is also a movie about moviemaking. In fact, the film should be a primer for anyone about to make an independent film.

Emmerich’s sense of irony has rarely been so pointed, and The Day After Tomorrow, for all its obvious cataclysmic set-pieces and stock characterizations, is nothing if not timely.

Riveting, and frankly it's great fun to see Leth best the smirky von Trier five times running.

There’s nothing especially offensive about the actress (Hudson); if anything, it’s that lack of offense, her overwhelmingly benign vibe, that has become increasingly repugnant with every picture she puts out.

It goes down easy, with likable performances and a laudable emphasis on love and compassion.

Irritating throughout, Love Me if You Dare turns positively appalling in its last half hour, with the inevitable final showdown producing an image that continues to curdle my stomach days later.

Perception is key and Control Room should be required viewing for anyone within reach of a TV signal.

Unsurprisingly, your enjoyment of Shrek 2 will likely be predicated on your enjoyment of Shrek 1.

It has the resonant feel of myth, buoyed by simultaneously vicious and compassionate performances from the men on both sides of the bars.

It's nobody’s idea of a classic comedy, but in its own inoffensive and eager-to-please way it's a pleasant enough way to spend 90 minutes ogling the lustrous Ms. Union and Mr. Foxx's equally and endlessly fascinating volcanic coif.

There is also a lot of good supporting work in this movie, including the performances of Irma P Hall, Tom Bowser as Evie's clueless dad, and Bruno Kirby as Kiddie Acres' gruff impresario.

Its narrative conceit will entertain for a while, but eventually you will long to disappear with the rest of the Mexicans.

Serves up a weak brew.