The motorcycle film genre is one that has all but been forgotten, but if any film could start the resurrection of this cinema genre's corpse, it's Larry Bishop's Hell Ride.

These actors and many more make What We Do Is Secret an absolute blast to watch and they do an undeniably perfect job of recreating this notorious scene.

The trouble is that the contrivances are so…CONTRIVED.

Let's be honest; a great deal of the sh-- you find funny when you're high really isn't (as anyone who's smoked a few bowls and laughed like a hyena to "Assy McGee" can attest). So hopefully nobody will be too disappointed when I tell them that "Express" is largely hit and miss.

I found myself in a tug-of-war between enjoying Bottle Shock as entertaining fluff, and thinking that there might be a more serious, gritty, complicated story lurking behind the grab-ass soap opera.

For Carmen, Tibby, Lena, and Bridget, their sisterhood shines even brighter the second time around.

It's a damn shame when the dreaded third leg in the franchise feels like a pale imitation of an already pale imitator.

The film also doesn't try to wrap things up nice and neat. That's not how life is and that's not how this film goes. But for those who can handle the truth, they should be prepared for a very moving experience. And Freddy Krueger references.

It's tough and cold and gives an inside look at poverty in America. Yet the film is also incredibly compelling and intense and I can't think of another film that's this small and powerful.

Please Chris Carter, bring us X-Files fans back to where we belong. If there is to be another movie, and there damn well better be, return us to our beloved mythology.

Simply, the movie is a tale of extremes resulting in a tepid middleground.

Never has a film captured the spirit of being a teenager better.

Pre the events of 9/11, the film might have simply been an entertaining, high risk tale of a death-defying feat related in both interviews, archival footage and photos and Marsh's usual meticulous and creative re-enactment vignettes. Post 9/11 you find yourself marveling that a man in far away France became smitten with the twin towers long before they became the target of terrorist attacks.

Smartly edited, utterly engrossing, and as intelligent an examination of American race relations as I've seen.

One of the most gripping, thought provoking dramas ever to ponder crime and punishment.

John C. McGinley carries the majority of the film's emotional weight, as he's the guy with the most to lose (and seemingly the most Hell-bent on losing), and his performance is easily one of the best of his career.

The Dark Knight may not be a masterpiece, but it easily vaults to the top of any list of "best superhero movies."

Noonan's life is one few of us can comprehend, and Mac Intyre's documentary, A Very British Gangster, is like a Guy Ritchie film come to life, only with a better dressed cast.

Again, if you love Lou Reed or even like Lou Reed a little, musically this film is worth your time.

Mortimer delivers as a mentally disintegrating wife, but it's Harrelson who provides the most fun, playing against type as the down-home Roy.

Better than the first in some ways: the superfluous Agent Meyers is gone, Doug Jones is great as Abe, and Strauss is an amusing addition (if almost structurally identical to Kroenen).

Many have described "Journey" as a 3D film dumbed down to a theme park attraction. However, its visual splendor would have left Walt Disney weeping and Sergei Eisenstein preaching of cinema's second coming.

While Fryar is a charming man and his work clearly deserves recognition, A Man Called Pearl is an obvious case of building a three-story house on a one-story foundation. Really, can you make a feature-length film about a man who carves unique shapes out of trees, shrubs and bushes?

The film is most remarkable when it exposes the ease with which the press and a self-obsessed judge can pervert the country's justice system.

Tedious and ultimately pointless film.

The July 4th release is fitting, for Thompson was a true patriot. His longstanding association with the counterculture notwithstanding, Thompson loved this country and the things it once stood for, and his voice is sorely missed today, and whether you were a fan of his work or not, you'll find Gonzo well worth your time.

If you have ever experienced the crushing effect of young love, you owe it to yourself to check out this gem of a dark comedy.

Starts off promisingly, but gets bogged down when it abandons humor for gravity.

Tell No One is a French variation on "The Fugitive," but it's a more subtle, discreet animal.

A thoroughly enjoyable film, and ranks with Pixar's best.

For all of its shortcomings, Wanted is a strangely enjoyable flick.

Here Breillat directs one of the most thrilling actresses working today, and the latter makes this calculated study into a tale brimming with passion and sorrow.

Bottom line, what I took away from this movie was – that drunk guy sure was funny.

This documentary's narrative feels deliberately chronological, as the storyline adheres to the major steps of Trumbo's career. Nonetheless, the film realizes many great moments to make the writer's story – often reduced to a footnote – into an intriguing one.

In the end, Full Grown Men tells an amusing tale, and the cameo scenes from Alan Cumming and Amy Sedaris are not to be missed.

The movie is fun, and hilarious, because of its child-like whimsy.

To be sure, The Love Guru is incredibly funny. Side-splitting laughter only stops when the movie does, so don't expect it to linger all the way to the parking lot.

Whether you’re a casual or an ardent follower of M. Night Shyamalan's films, The Happening could alienate or dominate your thinking cap. Remember--it's perfectly acceptable to laugh one second and shriek the next.

In the end, don't go see this if you are looking for an intellectual film. If you're into seeing some fun, mindless action in a faithful Marvel comic adaptation for a couple hours, then go see the Hulk smash some stuff.

The faux-doc/tone-poem hybrid My Winnipeg is a worthy product.

I also think Herzog is making a case for those crazy enough to follow their dreams, even when they take you to the end of the earth. Literally.

It's impressive enough to look at, and the voice talent – especially Black and Hoffman - doesn't disappoint, but all the CGI wankery and high-end talent only barely allows Kung Fu Panda to rise above cliché.

In truth, there's not much point to reviewing Adam Sandler comedies. They're almost always widely panned, and yet still manage to earn well over $100 million domestically. Don’' Mess with the Zohan looks to continue both trends, even if exaggerated Yiddish accents and sex with the elderly only take one so far.

Inert, inept epic.

Bell's documentary is an absolute must see for anyone taking part in any kind of debate about steroids.

This is a really small film, shot in 19 days, and it's a little rough around the edges, but it's got a huge comic heart that's undeniable.

To be sure, it's a very pretty, well acted production; however, that doesn't make up for the fact that I hated every minute of it.

The real problem is that Sex and the City is, except for a few laughs, mostly just irritating.

Ultimately, The Strangers does succeed in the sense that it offers a riveting, vastly credible enactment of everyone's worst nightmare.

The final act is all but guaranteed to astonish and satisfy. See this movie.

A fresh and rewarding take on cinematic terror.

It's such an insanely fun ride that most of its flaws are forgivable.

I can't deny it: I had a shit-eating grin on my face for most of the ensuing two hours. I also can't deny that many of the criticisms about to be leveled at Spielberg and Lucas over "Kingdom of the Crystal Skull" are well-deserved, but it's still good to see Indiana Jones, and Marion, back in action one last time.

Rich with compelling, often heartbreaking stories.

I can't condemn it outright, but damned if I can remember anything (aside from Izzard's performance) that would make me recommend it.

Reprise is an energetic romp through creative frustration, stagnant relationships, the fear of change and romance-fueled insanity.

It isn't going to set the world on fire, but it's perfectly acceptable for what it is.

If What Happens in Vegas... serves any purpose, it's to make me consider spending my gambling money in Reno or on a riverboat instead.

Overall, the film is alternately sweet and sad, amusing and moving.

As comic book movies go, Iron Man is a solid entry. Downey and company help drag Favreau out of the genre holes he digs, making for a decent experience.

The film is damn near a masterpiece. Let’s hope we don’t have to wait so long to see what Korine will do next.

This year’s diamond in the rough, a small movie that is big in heart and promises to be big at the box office.

There’s a lot of talent up there on the screen, and some authentic laughs, but too much of it is comedy territory that was claimed long ago.

Honestly, the most shocking thing put forth in Harold and Kumar Escape from Guantanamo Bay just might be the proposition that George W. Bush is actually a pretty cool guy.

Not only does Standard Operating Procedure look closely at visual evidence and it's true meaning, it also strives to question the validity of any given photo and, digging deeper still, the meta meaning of a photographic image.

Overall, the film is lost and never found. In her first shot as director, Hunt seems direction-less.

It is a shame the film doesn't cast a wider net into deeper political waters – the outrage is barely scratched in this production.

One small step for bad filmmaking and one giant leap for the increasing insignificance of the former Michael Corleone.

A dance of combat and humor saves a contrivance from drowning. Or, rather, Chan and Li elevate it enough to make it into a good time.

While the film has some laugh out-loud moments, it’s very poorly constructed and what we see onscreen seems to be the victim of either bad editing, poor direction or a script that was rushed into production too quickly.

Alyssa Milano is a delight, but her ten to thirteen minutes of screen-time mark her as more of a distraction than substantiation.

The film is, like "Super Size Me," extremely entertaining and, again, Spurlock shows that if it's one thing he knows how to do well, it's the first 10 minutes of a documentary.

In spite of the horrific dialogue, and even worse acting, there’s actually something to be said for Zombie Strippers!

This is a great film, to a point. Unfortunately the ending doesn't deliver, making the entire feature an exercise is wasted potential. But maybe that's the point.

It is just too bad that this film isn’t as snarky and groundbreaking as it would like you to think it is.

Two things come to mind as you watch the first act of Street Kings, the first is how fresh and exciting the movie would’ve been if it was released in 1984, the second is the question, “James Ellroy wrote that?”

Although it runs 78 minutes, it feels like 78 hours.

Leatherheads is as trifling as Clooney’s second movie (“Good Night and Good Luck”) was significant, but that’s okay. It succeeds where so many other romantic comedies fail because of a superior script and because everyone involved has the good sense not to take themselves too seriously.

There are a handful of intense sequences and a few scenes of squirm-inducing gore in The Ruins, but not much else.

Over all though, this is a first rate caper piece elevated by Caine’s effortlessly elegant portrayal. The movie is wall to wall with pompous, sexist, greedy backstabbers and it’s a hoot to watch Hobbs mop the floor with the lot of them.

Schwimmer impresses with this film.

From what I can tell, the film is generally accurate regarding the events of Dec. 8. But I got as much out of it as I did by looking up Chapman on Wikipedia.

Stop-Loss is a bit uneven. Mixed messages abound.

What's shocking about Superhero Movie is not that it's been advertised to death on Nickelodeon to impressionable children, but that it's a completely on-the-nose satire of "Spider-Man.”

There was a movie called “My Bodyguard” about the new kid in high school who hires the sullen loner to protect him from a bully. That was good. Drillbit Taylor is shit but, hey, I’m in Judd Apatow’s Hollywood.

The Grand is a fast and furious comedic attack that begs to be seen again. There’s just so much going on, it’s nearly impossible to keep up.

As a guilty pleasure, it’s spectacularly entertaining

Even if Horton's world can't shine like Whoville, this movie's visuals keeps things vivid, while digital animation is so often crisp, precise, and cold.

About as bland, predictable, and self-important as you’d expect.

It’s a shame that this film’s star-studded cast wasn’t able to save the mediocre storyline.

By and large, reviewers have conceded that the picture is exceptionally gripping and suspenseful while deriding its moral subtext as a crock. The only explanation possible for such fuming pettiness, in my opinion, is the fact that Michael Haneke isn’t one of us.

What chaps my hide more is that I've seen 10,000 BC. I've seen it three times in the last year and a half. Except in the one that I saw, it centered instead on Mayans, was mostly historically accurate, and was called "Apocalypto."

The Bank Job secures the viewer’s attention pretty quickly and does not relinquish that hold for a second.

Undeniably fun for the kids, though it requires a camp sensibility in its adult audience. But in doing so, it is a warm return to the live-action Disney movies of yesteryear.

Despite the cast's capable portrayals, it's difficult to connect with or care about any of these characters as, one by one, each stabs another in the back.

Plays like a breeze and ends before we know it. In the current state of cinema, all we can hope for is one like this per year.

The chief triumph here, it seems to me though, is one of style over substance. The disaffected kids who shuffle through its universe have nothing to say, nothing to tell us. I’m not sure the movie has a whole lot more.

With a deep understanding of his characters, Green has crafted a film that's devastating and uplifting without sounding a false note.