The movie stylishly portrays the story of the Chicago Seven with archival footage and animated sequences. Without reference to or retrospection from the present, Morgen crafts a film that is as pertinent as ever.

The falling blade is the only element not missing the mark in this film. I wanted to call for the beheading after Act One, and spare the audience instead.

An extraordinarily charming movie.

As Ferrell’s films go, Semi-Pro is, honestly, pretty damn boring.

Dunn does an incredible job of condensing this extremely complex battle into a story that is simple and understandable, as well as extremely compelling.

If you’re tired of zombie films or rabid people films, Signal is like a cool drink of water on a hot day. It’s got all the goodness from the best of those genres while creating its own niche at the same time.

I had just sat through a comedy that wasn't funny, a drama that wasn't touching and, all told, a mess of a story told by actors making some of either the laziest or most daring of choices, depending on your perspective. Sometimes both.

What you won’t be able to ignore is the ridiculous way Vantage Point’s brings everything to an end.

I love zombie movies. I love George Romero even more. It is easy to say that every movie he comes out with is an event for me, so it brings me great sadness to say that I felt let down by his latest effort, Diary of the Dead.

As a romantic comedy, Definitely, Maybe is an explosion of sweetness and hugs that might cause your stomach to churn if you don't like your sentimentality too strong.

The major weakness in Jumper is the piling on of action and narrative in the last ten to twelve minutes. It's as though the editor was rushing to meet a deadline and did the best he could with too much footage.

Once “Spiderwick” gets to the fantasy, the story gets going.

The only reason to watch Step Up 2 the Streets, and I mean the only reason, is Briana Evigan.

A stirring and touching production, and it is difficult not to be moved by the women’s medical progress. However, it suffers from a somewhat leisurely pacing.

There is no shortage of remarkable moments.

Fool's Gold could easily have been released in 1977, and there's a sort of laid-back, timeless, Gerald Ford feel to the movie: the resolution is never in doubt, the villains are comedic rather than menacing, and no one involved seems to care one way or the other that their names are attached to this indifferent mess.

In a film full of great performances, Ralph Feinnes steals the show as Harry, the boss.

It makes for a good time with Christensen providing lovely eye candy, but as for Jenkins and his hipper than thou dialogue, and gritty direction? I’m not impressed.

Caramel will likely be the Lebanese selection for Academy Award for “Best Foreign Film;” it’s inconceivable to me that it won’t win, but it’ll still be an injustice if it does. Caramel deserves to be in the categories with the big boys, so to speak, and whoever wins for Best Actress will be the second most deserving actress of 2007.

It's a movie that manages to grow more idiotic by the scene.

A straight-ahead exercise in brutality.

It’s rare that a movie makes me ill these days, and it’s rare that I can see a movie and hate the people behind it with such abhorrence, but Meet the Spartans rises to the challenge.

Computer movies have come a long way since the good old days of monitors projecting vector graphics on hackers’ faces, but there are still some forehead slappers in Untraceable.

This is a tale of friendship, corruption, betrayal and desperation masterfully told without an ounce of filmmaking flash and with an unflinching commitment to realism.

Like a deranged version of “Clueless,” the film is light-hearted, yet subversive, displaying a surprisingly wicked bite…literally.

It’s a thoroughly intense and mostly entertaining movie.

The best way to describe Callie Khouri’s Mad Money is as “Ocean’s Eleven” if it were geared to the drones at the Oprah Winfrey book club.

There are glimpses of the wit McKenna displayed in “Prada,” but these brief gasps of life are quickly suffocated by the inevitable schmaltz.

"Taxi” captures the evil that many men do under the guise of American justice. Just as Bardem's menacing Chigurh approaches his targets in "No Country," American military administrators approached Afghan detainees with shackles and convoluted policy in their pockets.

The original movie One Missed Call is based on was pretty tame, at least by Miike standards. And since it appears studios have no intention of halting this flood of abysmal rehashes, allow me to suggest that they at least have the stones not to pussyfoot around and give us a remake worthy of Hollywood, of America, and of an audience that lacks the willpower to stop buying tickets to half-assed crap.

As the narrative lugubriously sticks to the documented events, we are served nothing more than a filmed transcript.

It's worth a look, even taking into consideration the lack of zombies.

This may be an extremely bold statement to make, but there hasn’t been such an amazing character study in film since “Citizen Kane.” I honestly can’t praise it enough. From the opening to the ghastly ending, this film will sit in the depths of your stomach for some time to come.

The camerawork is a smidge too shaky and the lighting/color design too dark for me to relish the Predator-on-Alien butt-kicking.

Edward and Carter are like the original Odd Couple, except nobody’s laughing.

The combination of pen, ink and geopolitical strife have yet to yield anything quite like it.

The two actors (Hanks/Seymour Hoffman) have terrific chemistry and riff off one another like partners in a veteran comedy team.

Is the film fun? Yeah, in that campy kind of "The Mummy" way, but it is also weak as a sequel in that very campy "The Mummy Returns" type of way.

Lisa Kudrow, the designated comic relief, has never been so consistently unfunny, and Gina Gershon looks uncomfortable in every (pseudo-)inspirational moment.

I know a lot of people with no knowledge of Sondheim’s musical (much less Bond’s play) are going to buy tickets for a cute holiday movie starring that handsome Johnny Depp and end up experiencing something else entirely. Bon appétit.

Is Walk Hard” funny? Sure; very much so, in places. At least I think it is. It might just be the “Date Movie” talking.

Absolutely--four out of five stars for being cuter, funnier, and, besides, the character design far exceeded my expectations.

Instead of being the science fiction masterpiece Matheson fans have been salivating for since the 80s (when Schwarzenegger was once attached), it’s just another average Hollywood popcorn flick.

While at times the film begins to feel like a laundry list of bad deeds, the first-person accounts pack a wallop.

Imagine if the team that made "The English Patient" tried to make the same kind of movie, with even more brave-lads-fighting-the-Jerries porn and this time with Extra Added English country manor porn, and without really good actors, and this movie is what you’d have.

Not only did those so-called "demons" take the form of animals, but they actually talked!

A film that depends entirely on whether you feel empathy for its characters.

Bateman is given all the best dialogue and delivers his hilarious one-liners and odd observations with his usual brilliant deadpan, along with Garner who gives the finest performance of her career.

This is a movie that should have a medical warning in its trailer. Caution: viewing may be hazardous to your filmgoing fun; side effects can include drowsiness, irritation and difficulty swallowing.

Schnabel's film is so steeped in the visual that it is surely the purest of cinema.

The only obvious question that Oswald’s Ghost raises is: how come Mort Sahl wasn’t in the movie? (If you don’t get that joke, you need to brush up on your Kennedy conspiracy lessons.)

The film becomes at once an argument for the accuracy of fictional conventions and for the power of true, personal experiences.

Blends classic elements of fantasy, teen-angst and coming-of-age tales to create a genre all its own. And through it all, the movie is undeniably wholesome.

The interaction between Hoffman and Linney makes following their characters from their winter of hard experience to a spring of renewed hope well worth the while.

I really liked this film more than I did “An Inconvenient Truth,” as Everything’s Cool made the subject matter into a palatable form that actually made it interesting instead of depressing.

Movies about writers are almost always romanticized affairs but Starting Out in the Evening is the rare exception. It is at once an elegy for the vanishing generation of Bellow, Cheever, Mailer and Updike and a dead on indictment of our culture’s current state.

Masterpiece.

The kids and adults can dig this one, though adults may be stricken with Disney deja vu by this point.

Let's start with the obvious: Olyphant just isn't that intimidating an assassin. Think of some of cinema's more memorable button men: Léon, Luca Brasi, Frank Nitti...that's right, not a pretty boy in the bunch.

What Haynes has essentially done is create a film that is a Bob Dylan song, one of his best.

I think this one of the first King movies to legitimately give me the creeps.

Impressively stays away from the cheese and the sap that ordinarily accompany holiday pictures.

Yiddish Theater: A Love Story is a slight but moving documentary focusing on the final performances given by Zypora Spaisman, the Polish-born star of New York’s Yiddish theater.

Certainly, modern interpretations should add their own spin to an ancient tale, but in the hands of director Robert Zemeckis, Beowulf becomes... silly.

A brilliantly executed film that, like many real-life family reunions, is alternately painful, funny, and moving.

This movie is all over the place. One giant discombobulated stoner trip that goes from one obscure adventure to another. And you know what? It is quite a fun, odd journey.

Is love a disease, as Marquez possibly wanted us to believe? Maybe, but in the case of this adaptation, it’s more of a laughing sickness.

The film is just too much exposition, too long, too convoluted, too many characters and ultimately a huge disappointment.

Fred Claus is belligerently unfunny.

Check out The Life of Reilly, for a real-life example of carpe diem energy too pure and unrefined to be silenced by discrimination or negative family vibes.

Fortunately for Redford, Lions for Lambs is a less ham-handed effort than Sayles’ “Silver City,” but it’s a near thing.

Like many of Claypools bands, Electric Apricot is bound to be a cult hit. I’m just hoping it will have the chance to play before a bigger audience as I feel the film is just plain hilarious and I was extremely impressed at the way Claypool pulled it all together in his first directorial effort.

Like all of the renowned filmmakers’ best movies, this faithful adaptation of the Cormac McCarthy novel hasn’t aged a bit, its poetry and beauty growing starker, its themes gaining more relevance. An edge-of-your-seat thriller and an elegiac, gut-wrenching meditation on the passing of time and generational devolution, the now-classic feature showcases the brothers’ skills at their most stripped-down and rawest.

If you enjoy learning about the Holocaust and how dark a time it was, or you just like a good love story, then check this documentary out.

The acting is unquestionably strong, the songs are integrated appropriately (functioning as both audio bridges and dramatic enhancements), and yet something is missing in how the individual pieces of the film--the story, the themes, and the violence--fit together.

Bleak, weirdly witty at times and unrelentingly suspenseful, Before the Devil Knows You’re Dead is the cinematic equivalent of a perfect storm.

On its own terms, the picture is at least as contrived as it is charming and its characters in many cases bear less resemblance to flesh and blood human beings than those in a Farrelly brothers farce.

For devotees of the series, the gore is still there and the traps are just as weird as they were in the other entries but for the rest of us, your mind will forget it the second the end credits roll.

Slipstream is a properly bizarre journey.

Decent vampire movies are few and far between, and I’m having a hard time remembering a recent one that impressed me like 30 Days of Night.

It’s mostly eighty-four minutes of puns, double entendres, and Freudian slips.

Doesn’t always hit all the right notes...But in the end, Affleck displays a surprisingly sure hand, and Gone Baby Gone largely delivers.

Very little in Reservation Road ultimately rings true, which makes the anguished theatrics on display that much more exasperating.

Imagine a blend of "The Wizard of Oz," "Beetlejuice" and "Roadside Prophets" and you'll know exactly what Wristcutters is like.

The original “Elizabeth” was visually lush and quite engaging, but this is a sprawling mess.

Falls into the category of the contrived and forgettable cop drama.

A very creative documentary that takes a seemingly dull topic and makes it entertaining.

Reconfigured into a very different one-woman movie by Gibson and director Jeremy Kagan. Unfortunately, the transformation was not successful.

Better than I expected, but since I expected it to be a horrific failure, that isn’t saying much.

Quite possibly Clooney’s best effort to date.

Aside from being a captivating and highly interesting film, Bar-Lev's My Kid Could Paint That is also something extremely rare – a piece of honest journalism.

An important heads-up to what is going on in our country right now in the name of national security, and a brilliant statement on artistic freedom and the dangers it faces. This film should be seen, should be discussed and is an important document on our times.

The result is a great-looking bore.

Everyone involved with the film brings their top talents to the fore, and the result is a touching, heartbreaking and an ultimately honest personal experience.

The Darjeeling Limited isn't so bad as to offend those who love Wes Anderson too much, but it is not the triumph that his previous films have been.

An amusing and timely distraction.

“Syriana's” dumber, louder cousin.