While I could probably spend an entire weekend watching Milla twirl her kukris, it's obvious from the rather lazy pacing that Anderson is growing increasingly self-indulgent with his creation.

In a case where the most dangerous are kept dangerously close, here we have a rarity: a suspenseful, yet dramatic Western.

The film does not know what it is, tonally changing within and between structural acts.

A genuinely engrossing film.

One of the best films of 2007 but I wonder if it’s difficult message will turn away filmgoers. Haggis has constructed a very bitter pill that needs to be swallowed, especially by hardcore pro-war Americans.

The film has a great visual style and manages to show Los Angeles in a fresh way that the average Hollywood eye isn’t used to, while, on the acting front, Evan Rachel Wood surpasses Michael Douglas in scenes, solidifying herself as an actor to look out for.

All Mr. Woodcock gives us is mediocre comedy at its finest.

Formulaic and creaky as a Harrison Ford action sequence, but sufficiently gussied up with good actors and a decent director so that you don’t entirely mind.

Mangold has time to build sensational, studied characterizations, brilliant pacing (courtesy Mike McCuster, who also edited the director’s previous effort, the Johnny Cash biopic “Walk the Line”), and blistering action.

A surprisingly fresh take on familiar material.

Intermittently amusing.

It is a painful but important subject, to be certain, but the film dilutes its own effectiveness by devolving into a collection of talking heads who often seem to be repeating each other.

The action sequences are still pretty imaginative, if not nonsensical.

As it stands, he made a noble attempt, and it could've been a Hell of a lot worse, but it's not as great a film as its potential hints at.

This movie is metaphysical fun, and while some elements are predictable, it’s an engaging mystery.

Steer clear of Balls of Fury for as long as you draw breath. Period.

A curious little film. On the surface, it's a story about one man's mission to create an Orthodox monastery in Denmark, and along the way it manages to say something about everyone's desire to be remembered after they pass away.

This is a decent flick, it is just I have seen this a few times before.

It is great to see a boxing movie that portrays both boxing and Jackson in different lights.

Ultimately a story about the American mindset post-9/11, Right at Your Door is also a much more personal tale, as it forces all of us to consider what we would do if the chips were down.

Perhaps this movie would have been better off if it starred Steven Seagal and Tom Arnold.

What really elevates Hannah Takes the Stairs is the truly outstanding performance by Greta Gerwig.

Easily one of the funniest comedies of the year and one you wouldn’t mind seeing again and again.

The only mildly interesting bit of casting comes from bringing Cartwright back (as one of Bennell’s patients).

It’s not just one of the best documentaries I’ve ever seen, it’s one of the best movies I’ve ever seen. Period.

The story's surprises range from clever to annoying, but DiCillo manages to hold it all together with his consistently amusing cast members, who make you laugh at their characters' self-absorbed folly.

Something of a surprise: a gay-oriented feature that is genuinely touching and sincere.

This is one of those films that will either hit it big as an indie crossover like "Little Miss Sunshine,” or just make some money and become a film nerd favorite. Either way I recommend you don’t miss this awkwardly fun gem.

The biggest loser in all of this is Chan, whose legacy over here won’t be his 20+ years as a martial arts pioneer, but rather his playing straight man to the likes of Tucker and Owen Wilson.

Delivers on the action front, laughs, and some great visual splendor. The only real problem with this film is the running time.

Daddy Day Camp is a perfect family film for the blind and deaf.

Let's talk about Paul Rudd. I think he may be in every film in 2007 and that's okay by me, because Paul Rudd has become an acting Man-God.

Hathaway's exuberance and dramatic range are fitting for this portrayal of the celebrated literary figure.

Despite the seriousness of the subject, the movie is sweet and charming; it knows that audiences hate to be preached to and instead shows us--as it shows a Anna--why we should care about being humane.

A perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.

There are enough laughs here to fill a five-minute skit but sadly, the film lasts a lot longer than that.

Regardless, what probably made the show so tolerable and popular was the fact that each episode was under a half an hour long. This movie is about 84 minutes long and gets tiresome after the first 20 minutes or so.

Director Anthony Giacchino realizes what an engaging tale he’s uncovered, and stays back to let the members tell their story.

No End In Sight is the most important film of the year thus far and, more significantly, the most comprehensive, clear-eyed account of the Iraq debacle and the arrogance behind it that we have.

I generally wince at the thought of a foreign film receiving a Hollywood do-over, but No Reservations satisfactorily Americanizes its German predecessor by taking an originally more serious story and adding to it a lighter, more comedic tone.

It’s funny, it’s smart, and it pokes fun at exactly the things it should (organized religion, big business, and audience itself).

The sport of golf has seen its fair share of vulgar comedies over the last 30 years or so.

Hairspray isn’t all that bad, frankly. The songs are catchy, most of the leads are engaging enough (Blonksy and Bynes especially), and there’s just enough low-key subversiveness to keep everything from getting too saccharine.

So remarkably free of laughs I might as well have been watching John Wayne Gacy’s home movies.

Danny Boyle still creates an impressive world, visually rich and yet cold and claustrophobic.

A terrible rehash of better torture genre exploitation, with none of the charm.

To their credit, Miller and Buscemi engage the audience’s interest in what is essentially an extended conversation for an extraordinarily long time.

More a celebration of movement and music than a parable for our over-communicative, friend-lite, acquaintance-rich society.

A poignant reminder of why people used to actually listen to their radios.

A beautiful looking kinetic film that’s always in movement. It’s a bit slow at times and the plot has a tendency to meander, but other than that it’s hard to find fault.

Something of a letdown. Previous statements aside, I understand Warner Bros. has to set the table for "Half-Blood Prince" and "Deathly Hallows," but too much of Phoenix is filler. And with only two movies left, we better get to the main course in short order.

Even though the story covers familiar ground, it provides enough tension and humor in the presentation to make it worth watching

In Bale, Herzog has found a talent who transcends the challenges of a brutal shoot. "Rescue" reveals new capabilities for an actor who's already proven himself in other intense and ever-focused performances.

Depending on your expectations for Transformers, rear-ending theaters this July 4th, you’ll either be ecstatic or horrified to learn that the movie hits on all three cylinders in convincing fashion.

It isn’t the worst romantic comedy I have ever seen.

Sicko Is flawed and occasionally stretches to make its point, but the movie's message speaks for itself.

Stunningly animated, cleverly scripted, and genuinely humorous.

Evening”has so much going for it. A great cast, amazing visuals, and solid directing throughout. So why did I leave the film saying aloud to the parking lot, "I didn't like it."

Does it herald a renaissance in the action genre? Not really, but it's a welcome throwback to good old-fashioned, '80s-style lunkhead violence, and no one takes a punch, kick, elbow, or bullet quite like John McClane.

The camera lingers on the characters' minimal, but expressive actions, allowing the viewer to soak in their emotions rather than having them related to us through dialogue. In doing so, In Between Days is more of an experience than your average movie.

1408 isn’t great cinema, but does an adequate job in spite of its flaws.

An unnecessary sequel to the equally unnecessary "Bruce Almighty."

The movie is engrossing and well-acted throughout (especially Khan), but ultimately leaves us less optimistic about the prospects for peace.

Unfortunately, Black Sheep takes so long to get going and misses so many easy opportunities for classic comedy it has to be regarded as a noble failure.

What began as an interesting character study ends in convention, offering only the most clichéd platitudes in summation. You can't find true love until you love yourself? Hasn't Dr. Phil been telling us that for years?

In other hands with another cast, You Kill Me might easily have proven just another modest production indulging in mob violence and postmodern irony. There certainly is no shortage of those. Dahl’s latest, however, is something more than a modest production. It’s a small wonder.

Slow in places, but the feeling of foreboding you’ll take away from it is undeniable.

Sure, the dialogue is absolutely atrocious, the acting sucks, Eric Roberts is a co-star, the action is lame and the fighting is boring. But all of this makes for one hilarious viewing experience. DOA is the sort of film you’ll want to watch with a drunken crowd of your friends.

A better-quality sequel, but that wasn't really too difficult. The original was one of the worst movies of 2005, and while "Rise" won't win any awards, it's (mostly) less offensive than its predecessor. Faint praise, but I'll be damned if I go any further than that.

Overall, I found myself not hating the film. There's just one thing that troubles me about the way Nancy Drew is depicted. She is determined, a perfectionist, uber-organized, and efficient. Those qualities can be associated to geekdom, but they’re also symptoms of someone with a propensity for disordered eating or obsessive-compulsive disorder. Hmmm.

The film is a bore.

An interesting and shocking film that tells a story many of us knew nothing about but are affected by it nonetheless.

An over-the-top celebrity cartoon of cool and a tilt-a-whirl of fun.

Eli Roth has potential, I just think he should leave Slovakia alone and focus on bigger and better things.

A great meld of rock history, the sociological and familial impacts of mental disability and some courtroom intrigue.

Believe the hype, Knocked Up is one of the funniest films of 2007. It's too early in the year to crown it the supreme funniest title, but save for something so funny your head explodes in the theater, I think it'll take the title by year's end. Seth Rogen, we web slackers salute you!

What this movie needed was a leaner narrative focusing on Earl and Marshall while keeping Moore’s character in the background. What we end up with is a goofy and occasionally enjoyable mix of horror, comedy, and action that can’t entirely shed its excess narrative flab.

All told, Crazy Love is a rarity in documentaries; it's fun.

It's a tough one to recommend to everyone. Just know now this isn't a horror film as they're making it out to be nor is it a true return to form for Friedkin. Even so, it's worth seeing but perhaps as a DVD rental further down the road.

The action IS pretty engaging, Sao Feng and his gang of South Asian cutthroats are a nice addition, and the constant plot explication does require you to pay attention.

The movie's strength is in the performances. And they're enough to make Steel City worth a look.

What's more refreshing about Severance is how the movie's humor offsets the violence, and even that is pretty restrained (at least by modern standards).

Somewhat of an improvement over the last one, though it still never veers off familiar terrain. Essentially, if you've only seen one "Shrek" film, you've seen them all.

Fans of "Henry Fool" in particular, however, may dislike the complete disregard for the characters of the original film. But the most fervent of Hartley followers can praise the film as a brilliant deconstruction of the tacked-on cinematic sequel.

Bruno Dumont’s Flanders is something you don't see everyday: a decidedly non-sentimental love story.

A film of limited production values, a low-quality picture and the occasional flubbed camera move. But it makes up for these flaws with sharp observations, compelling characters and a great collection of music.

Peretz's film continuously subverts the audience's expectations of what should likely happen given genre conventions.

Director Juan Carlos Fresnadillo, who was essentially handpicked by now-executive producer Danny Boyle, gives us a more depressing look at humanity while retaining several of his predecessor’s moves. This isn’t always a good thing, since Fresnadillo can’t seem to get his fill of low-light hyper-edited fight scenes or frenetic hand-held shots of people running, but when used right it adds to the sense of claustrophobia and impending doom.

If Director C.B. Harding's intention was to make one of the worst films in recent memory, congratulations are in order.

Georgia Rule isn’t serious enough for a drama and not funny enough for a comedy.

It isn't as if any of the actors do an especially bad job or anything – Fox is capable enough as the lead, and Whitley and Wilson especially carry themselves quite well – but you can't help asking yourself, what's the point? Are there that many more broad topics in need of shallow examination by a Hollywood studio picture?

Chalk is loaded with life, energy, truth and respect. It may just make you yearn for your high schooling days. Okay, maybe not, but Chalk will have you laughing long after the movie has ended. How's that for homework?

The most touching moments come from Amy Hill as Linh, who runs a nail salon located next to a strip of long-forgotten Hollywood Walk of Fame stars.

An existential masterpiece. Merging the stylistic direction of Jean-Pierre Jeunet with the existential sensibilities of Charlie Kaufman, creating one of the most memorable films ever made.

Had Lucky You played strictly as a father-son drama set against the background of competitive Texas Hold 'Em, it would've been a much better movie based on the strength of Hanson's direction and Duvall's performance alone. But no, somewhere along the line they had to make this a romance, and that's the movie's fatal flaw.

Julie Christie gives a fabulous performance of mysterious, unclear depth as Fiona.

What saves Spider-Man 3 from becoming well, "Superman III," is the fact that it's still a solid film that packs a punch when it comes to turn on the spectacle.

This one deserves to go back in the refrigerator – preferably to the very back of the refrigerator!