Without really understanding what drove these two men to attempt the risky climb in the first place, it’s hard to extend the requisite sympathy for their plight. A void was definitely touched in this movie, and it was inside me.

My advice? Grab Mr. Peabody’s Wayback Machine and recast with Jimmy Dean.

Something of a snooze.

Teacher’s Pet feels more like Ren & Stimpy's John Kricfalusi on a mild dose of Prozac, and I mean that in the very best way.

Torque knows it’s one big joke, dusty chaps, heaving bosoms, and all, which makes it all that much easier to swallow. And forget.

The combination of high animé style and old-school heart gives the film a broad enough appeal to merit a wide release. Not that it isn't quirky.

The correlation between music and math, if not explicit, is seldom documented with as much panache as Tom Dowd & the Language of Music.

Their travelogue-ready romance is utterly doofy but not disagreeable, and this sort of wish-fulfillment fantasy will strike the right chord with Moore’s fan base of preteen girls.

Though the three leads are all likable performers, their lunkheaded characters are as thinly drawn as their cartoon counterparts, and the supporting cast is littered with one racial stereotype after another.

It becomes unmistakably clear that Wuornos’ wretched childhood and young life is representative of a deep failure within American society to adequately protect our young and defenseless. This becomes part of the movie’s argument against capital punishment.

It’s Brisseau's penchant for the flamboyantly perverse and the perversely flamboyant, however, that might have been best left secret.

This is not a conventional love story but a philosophical one.

Everyone learns a lesson by movie’s end: Don’t put work before family. Curiously, no one learns that all this could have been avoided with a good method of birth control.

A rare achievement.

Maybe it’s time for Woo to finally make that musical he keeps talking about.

If you can get past the ick factor inherent in these suddenly adulterized relationships –- and there’s really no way this film should have received a kid-friendly PG rating –- and latch on to the film’s wealth of metaphor, you’ll surely have something to discuss over coffee post-screening.

When The Company owns up to what it is -– a performance piece -– it’s glorious. Everything else -– the window-dressing of a fiction film -– just gums up that gloriousness.

Doesn’t provide any answers, and that’s both its strength and weakness.

There's just no reconciling the film's ambivalent message. Newell hangs a modern sensibility on a supposed period piece, and hangs his film in the process.

In the end, The Fog of War offers a couple of hours of brilliant clarity amid the noise and chaos.

A sterling example of what Hollywood can accomplish when it puts its trust into an offbeat project whose creative team has a different perspective on American life.

The actresses are terrific together, and it’s nice to see Helen Mirren smiling onscreen for a change. And although Calendar Girls is resolutely pleasant, the movie never really goes much beyond that.

It’s odd and unfortunate, however, that The Return of the King just barely misses the eye-misting emotional wallop of the series’ previous installment, The Two Towers, which had a lyrical subtlety underpinning the vast vistas of growing chaos (and Christopher Lee hardly hurt matters) and hobbits-in-peril.

In filming this movie with such artistic precision, the movie ironically winds up objectifying Griet just as much as any appreciator of the original painting.

By the time The Statement comes to its inevitable conclusion, you'll be hard pressed to remember much about it, sadly enough. In other words, The Statement doesn't make much of one.

Looks mostly like the same-old, same-old.

[Keaton's] lost none of the spunk, sass, and ditzbomb charm of her "Annie Hall" days. She, quite simply, is marvelous. Too bad her similarly iconic co-star is such a toad. Jack never stops being Jack, to great distraction.

Damon, particularly, stands revealed as a comic ace.