Fans will dig the abundant performance video and commentary from Henry Rollins and Ian MacKaye; everyone else should steer clear of the mosh pit.

It's marvelous or unwatchable.

Script and direction are both fairly slapdash, but the actors and the overall sweetness keep this chugging along on some level .

I was engaged by Chick's characters...But that point passed pretty soon after the credits rolled, and nothing has come back to haunt me since.

The two different ends require shifts in point of view that are beyond Sayles's talent as a visual storyteller, and the film does not cohere. Yet many of the individual scenes are charming, funny, and pointed, and the movie gives off Sayles's usual glow of goodwill.

As usual, Sayles's dialogue scenes are as shapely as blown glass, but none of the characters' predicaments has been adequately explored, much less resolved, when the final freeze-frame arrives.

William A. Seiter directed this 1935 release, with a light touch but not enough style to transcend the machinations of the trifling plot.

Director Slava Tsukerman doesn't have any new ideas, though this 1982 feature does improve on some old ones, notably its use of a rapid parallel montage technique to enliven the ancient Warholian comedy of boredom and underreaction by cutting to different characters and different shticks.

Garson Kanin directed this late, trivial screwball comedy (1940), and while it’s pleasant enough, the freshness is definitely off the bloom.

When the movie got serious again at the end I wasn't buying, though the whole endeavor is helped along by an appealing cast.

The stand-up performance is still that of the mom--Sigourney Weaver, making the most of the meatiest part she's had in years

For all of its simplemindedness and deck stacking, the film is distressingly well made—Pollack is no artist, but he has a glistening technique (there aren't many American directors left who know how to plan their shots for such smooth cutting) and a strong sense of how to hold, cajole, and gratify an audience.

This 1998 film held my interest for two hours, even taking on an epic feel when it turns into a road movie. It's not bad by any means, but it also happens to resemble a lot of other movies.

As in the other two movies, the plot is a thin cardboard box used to carry an assortment of observational doughnuts--in this case, estrogen-fueled shop talk about race, men, and the politics of looking good.

The heaving computer-generated sea swells doesn't match the conventionally animated characters. The action scenes are too antic, but directors Tim Johnson and Patrick Gilmore serve up a sweet romantic subplot.

An unexpectedly troubling crime thriller.

Wyler lays out all the elements with care and precision, but the romantic comedy never comes together - it's charm by computer. [Review of re-release]

Isn't terribly frightening or gory, and at times it's even atmospheric. It also has a sense of humor, and the digs at the prequels hit pay dirt.

Provides an interesting introduction to a compelling figure in contemporary pop music.

The film comes closer to working than it has any right to, given the curious casting (Keith Carradine and Harvey Keitel) and director Ridley Scott's inability to sustain dramatic tension or build a coherent scene.

The review format, intercut with demythicizing glimpses behind the scenes, aspires to a cynical Brechtian snappiness, but the drama is too thinly imagined, the meanings too familiar and heavily stated, for this 1976 film to gather any real interest.

Bardwell manages a sincere portrait of what it's like to be young and closeted.

Iranian director Asghar Farhadi follows up his stunning debut feature "Dancing in the Dust" (2003) with this melancholy drama about the aftermath of a senseless murder.

Reasonably entertaining if utterly familiar entry in the long-running SF franchise.

I came to this expecting a standard rock doc, but its cobwebbed tale of an aged parent and grown child's debilitating relationship seems closer to "Grey Gardens."

Though it suggests intriguing ideas about the nature of performance, humor, ambition, and the consumption of spectacle, the movie only superficially explores them.

While Spencer Tracy provides a solid performance in the title role and Dimitri Tiomkin won an Oscar for his score, the overall effect of trying to film this rather unfilmable novel is a bit like an illustrated slide lecture.

A hollow view of hollowness with a very polished surface.