Ultimately a creepy tale.

It's a spooky movie without anything really scary in it, a ghost story without any spirits, a romance that displays scant affection, a reincarnation tale that never uses that particular word nor engages in anything terribly transcendental.

Saw has its moments, and most of them are brutal in the extreme, but ultimately it's one tremendous misfire that will either leave you laughing or, possibly, gagging. Not what I'd call a winning combination.

No matter the movie's pitfalls, Ray, we can't stop loving you.

A smart and delightful romantic comedy, yet in the course of creating his new charmer Alexander Payne has sheared off some of the rambunctious edges that made his previous films, About Schmidt, Election, and Citizen Ruth, such marvelous studies in social parody.

Did I fall in love with Undertow? Not in the least. But I liked it alright, and amidst the mediocrity, even rot, that constitutes 98% of contemporary American movies, that'll do fine.

Although the movie's anti-war propaganda mission is clear, it nevertheless makes a strong case for asking questions and examining our country's imperialistic motives.

Van Bebber's film is tough, difficult, sporadically brilliant cinema, to be sure, and I doubt he'd have had it any other way. And as strange as it may sound, neither should the audience.

As concert films go, this is heady stuff.

Never gives us the nuts and bolts of mental illness and guilt, just the sight of cooped-up steam escaping from a valve that’s about to blow.

It’s not a disaster by any stretch, but purists will ache to show newcomers the horrific genius of "Ju-on" over The Grudge as soon as they exit the theatre.

Cynical yet mildly amusing Yuletide-season comedy.

Neither ditzy enough as comedy nor realistic enough as human drama to live a long life.

The little drama queen who lives inside each of us will find Being Julia hard to resist.

When it works, Shall We Dance? has a way of sweeping you off your feet.

Juvenile yet compellingly smart humor.

In an era in which too many of us automatically accept women's right to choose, Vera Drake reminds us that the time for complacency is not now.

A fine, familial elixir to remedy despair and soften hardened hearts, Around the Bend is likely just the first of many feathers in Roberts shiny new directorial cap.

Both interesting and insufferable.

The game footage is as engrossing as the real thing, although it comes at the expense of diminished attention to the teen players and their emotional problems.

It's hard to always know what Primer is saying or where it's heading, but it looks fantastic while it unfolds and you won't be able to forget what you've witnessed.

Frankly, one's sympathy sides more with the class bitch who thinks she has the better voice and deserves the choral solo instead of Terri. In your heart you know she's right.

Sometimes people grow up sane despite the best efforts of society to drive them mad. This is the case for filmmaker Jonathan Caouette.

Very nearly as entertaining as watching a potato bake.

Butler's film hopes to confront our national battle fatigue so that we may move on.

Her mortal story seems one of sadness rather than inspiration.

This movie that wails with the intensity of a revival chorus is something we can all say amen to.

There's a genuine sense of loss when dreams go unrealized, and in these moments Dig! transcends the typical "rock movie" format and aspires to something greater: an examination of why we create and what we receive from art.