Can be as howlingly funny as it is touching.

Deserves more than just a look.

The most offensive movie of the year.

The sappy trappings that director Raymond De Felitta piles onto the burgeoning romance story line kills any spark that remains, despite the best efforts of the cast to keep it real.

Lee's new racial satire starts out strong but loses its way.

It has just enough "comedy" to qualify as crowd-pleaser.

A fluent, intelligent piece of work whose sex and violence are anything but gratuitous, and exactly the kind of highly personal, no-holds-barred vision of life on the ragged edge that independents always aspire to but rarely have the goods to achieve.

We're in for a long, unpleasant, reactionary ride.

The film has no form or function; at best, it's a 90-minute infomercial.

Its heart is in the right place, but it has no soul.

Generally engaging.

While the movie is frequently sharp and funny and weirdly relatable, the material feels too much like reality.

Consistently fails to deliver the charm it presumes to have.

Bjork holds the movie together, her natural charisma and the overwhelming intensity of her emotions should blind a lot of viewers to the ludicrousness of the story and the intentionally rotten videography.

Ninety percent of this thriller is absolutely terrific; but the 10 percent that fails is so troubling that it threatens to undermine all that is wonderful in the rest.

Part of the problem may be the use of non-actors in most of the roles. They look like real people, and they are entirely believable, but none has any kind of star charisma.

Far more than a mere visual feast.

Fascinating and engrossing on every conceivable level

So convoluted and half-assed it's tempting to dismiss it as unfinished; it feels like six different movies cut together by a blind editor.

Because of the supremely artful way Shear and Reitz have pitched the story, it reaches into places few films, gay or straight, have gone.

A highly likable movie.

The first relevant film about rock and roll and the music industry, the first film that lets you in on the secret.

This film is no "Usual Suspects," because there is no twist, no gotcha.

The resulting piece resonates upon the American condition, deliciously detailing the whimsy, violence, intolerance, and shallow fantasies that fuel this nation. Oh yeah, and it's funny.

Once the terror ends and the credits roll, we finally get to the best part: a merciful escape.

Hang out at a frat house or sports bar, and you can hear this kind of talk for free.

It's hard to know just how much to trust Titanic Town.

A mostly well-constructed action flick with a number of flashy, well-choreographed fight and chase scenes.