This is a framework that could have benefitted from more irony and complexity, especially with the resources of Langella, but at the end, I felt the movie was too easily satisfied.

There are better movies opening this weekend. There are better movies opening every weekend. But Slither has a competence to it, an ability to manipulate obligatory horror scenes in a way that works.

Because this film is violent and cruel and very sad, why would you want to see it? For a couple of reasons, perhaps. One might be to watch two great actors, Penn and Walken, at the top of their forms in roles that give them a lot to work with. Another might be to witness some of the dynamics of a criminal society, some of the forces that push criminals further than they intend to go.

What I like about movies like this is the way they keep us involved until the end. There is no formula that we can project; “Thelma & Louise” was clearly heading for an act of self-destruction, but here we have no idea what to expect, except (inevitably) the birth of a child.

A giant pile of shiny gift-wrapped garbage.

There's an unlikelihood so large in Future Weather that it nearly derails the film. That was what I admired the most about it.

An endlessly surprising, very dark, human comedy, with a plot that cannot be foreseen but only relished.

There's some really fine stuff here, and Part Two isn't afraid to poke fun when it's appropriate.

"Brigsby” wins the day thanks in large part to the sharp and original screenplay, and the uniformly fine work from one of the more interesting casts of the year.

There are great performances in the central roles. Phoenix essentially carries the story; it's about him. Lahti and Hill have that shattering scene together. And Lahti and Hirsch, huddled together in bed, fearfully realizing that they may have come to a crossroads, are touching; we see how they've depended on each other. This is one of the best films of the year.

Over the Edge is a funeral service held at the graveside of the suburban dream. It tells a ragged story that ends with an improbable climax, but it's acted so well and truly by its mostly teen-age cast that we somehow feel we're eavesdropping.

This is a bloodless, cold, self-congratulatory exercise in style for style’s sake.

The Well Digger's Daughter is such a success that Auteuil has already been signed to direct three more Pagnol classics, and I eagerly want to see them.

T2 Trainspotting has one foot firmly planted in nostalgia and the other rooted in the present, and thanks in great part to Boyle’s unique, world-class talent, everything old feels new again, and everything new has the blazing look of an original and blazing piece of art.

In its own sloppy, raunchy, sophomoric, occasionally self-pleased and consistently energetic way, This Is the End is just about perfect at executing its mission, which is to poke fun at its stars, exhaust every R-rated possibility to get a laugh, and even sneak in a few insights into Hollywood, the celebrity culture and the nature of faith.

Williams handles the main line of the story, the war between Ted and Marion, clearly and strongly; you may not always hurt the one you love, but you certainly know how to.

The Sound of My Voice never precisely declares whether her story is true. Without going into detail, I can say that the film never precisely declares anything to be true.

Fatal Attraction is a spellbinding psychological thriller that could have been a great movie if the filmmakers had not thrown character and plausibility to the winds in the last minutes to give us their version of a grown-up "Friday the 13th."

A disorganized, rambling and eccentric movie that contains some moments of truth, some moments of humor, and many moments of digression.

As a source of information about his life and work, this interview is almost worthless, but as an insight into his style, it is priceless.

Kevin Bacon stars in one of his best performances.

A compelling, persuasive film, at odds with the White House effort to present Bush as a strong leader.

The two leading men, Northam and Everett, are smooth and charming.

Despite its visual restlessness and its dogs, Mondovino is a fascinating film.

Because Die Hard 2 is so skillfully constructed and well-directed, it develops a momentum that carries it past several credibility gaps that might have capsized a lesser film.

Hellaware doesn’t really have anything new to say about its art world subject... But Bilandic does perfectly capture the laid-back style of the twentysomethings (the lead actors all do fine work) and manages to present a fresh story of callow youth caught up in their own American odyssey.

Although Newman is a delight, the best surprise in the movie is the performance of a new actress named Lolita Davidovich, who plays Blaze Starr. She has a comfortableness in the role that is just right.

A sublime meditation on solitude.