While it sounds interesting on paper, the follow through is less than entertaining... unless you like unintentional humor.

It's noisy, nonsensical, and will fade from your consciousness even before you make it out of the theater lobby, but it's entertaining enough, and Tamahori throws us a few curve balls to keep things interesting.

Diggers isn't a bad film, but the underlying premise - the longing one feels to escape from a dead-end, small town life - has been so beaten to death in the movies that no amount of accurate 70s design or subtlety in the performances can hide the fact.

Rickman and Weaver sell it, and the utterly heart wrenching finale is the big pay off, and the experience is worth it.

One of those docs that takes the life of an individual and surrounds it with other people's stories that are just as absorbing.

It's all a case of been-there, done-that, although the singing is nice. Still, do we really need another movie with thirtysomethings who ache to re-live their college years? C’mon, guys, grow up!

The thrill of Hot Fuzz is the chemistry between Nicholas and local oaf Danny Butterman, who is an action film aficionado and finds Nicholas' stories utterly engrossing.

It's rare to see Luke Wilson in such a serious role. He does an admirable job of ignoring his mostly comedic background but the real scene-stealer is Frank Whaley.

Fracture may be smarter than the majority of movies out there, but it's not half as clever as it thinks it is.

Isn't a bad film per se--it’s just an empty film.

Plagues & Pleasures is kinda like one of those travel videos, except it's offering you a vacation like you've never had before and it's not loaded with bulls---.

You either get it or you don't.

The fault here lies in the film’s dead rhythm, which never lights the sparks necessary for an action film. The plot and action progress like an eroding lakeshore, but the energy and excitement are washed away in every scene.

Nothing but a perfect waste of a Friday night. Or a Tuesday night. Or any night of the week for that matter.

A minor and forgettable bore.

It's a bit of a shaky first screenwriting effort for Coupland, but not without its charms.

Billed as a comedy but it would be every bit as accurate to categorize it as science fiction or a World War II drama. It is simply not a funny film.

Eccentric and pure like its hero, Jack Smith and the Destruction of Atlantis will appall or bore many, but, a worthy piece of cultural history, it should delight devotees of the "real" reel underground.

It did a great job of giving chills and making me jump. It may not be the most original film out there, but which ones out there today are completely original anyways?

The only criticism that seems to merit any real discussion is whether directors Robert Rodriguez and Quentin Tarantino actually did make real grindhouse-style fare. To whit, I can easily say: yes, they not only made two on-point grindhouse films, they did them to painful perfection.

Full speed ahead fun, a rollicking caper romp that hearkens back to a quainter, pre-Ken Lay age when bigtime fraud could actually entail writing books as opposed to merely cooking them.

Despite being a little cliché, Ping Pong is a hell of a lot of fun.

The one lesson learned from watching this film is that Canadians can make movies just as badly as anyone else.

The Reaping isn't a total failure. Swank is never less than competent.

Carice van Houten as Rachel/Ellis is as captivating as any screen siren working today.

It's funnier than "Wild Hogs," which is about as ringing an endorsement as I'm capable of these days.

It is worthy of your time, simply because of the brilliant acting and the first and final acts but... the middle of the film feels like an endurance challenge.

For all the effort Giamatti gives in making George a convincing character, the movie itself, never quite gets off the ground. The feel is too deliberately peculiar, and Goldberger's detached style never gives us a reason to invest ourselves in anyone but George.

There isn't really an overall arc present in Killer of Sheep, and that's the point. There's really nothing meant to be expressed in Killer of Sheep but the experience of poverty, and the inevitability of crime in the face of poverty.

Live Free or Die is a low-fi farce that technically works. But in the end it feels like a pale version of say "Raising Arizona" or even "After Hours."

You want uncomfortable tales of love and woe, then Race You to the Bottom has what you're looking for. And if you believe love is a disease that is meant to send people to screaming, burning hell, then you'll have a laugh riot, a real knee slapper, like 1,000 fart jokes heard all at once.

If the state government in Massachusetts refuses to acknowledge its execution of innocent men, then at least this compelling and powerful production can serve as a graceful elegy to the doomed men who were murdered by their adopted homeland.

This could've easily been a giant mess, but aiding filmmaker Scott Storm in keeping his ship together is a talented ensemble cast who compliment the sharp, witty script by writer Paul Osborne. You're never too lost in trying to figure out why this poor guy is doomed and you're always entertained. Talent coming in from all sides makes Ten ‘til Noon great movie watching.

This horror fanatic doesn't have room for Craven in his genre anymore. Collect your cash and call it a day already, Wes.

Has some nice touches. Cheadle is capable as always, and Paula Newsome kills as his acerbic receptionist.

I expected to see the triumphant return of my childhood favorites, yet I feel like this wasn't the answer.

It is an entertaining bit of fluff, with a few engaging performances and enough visual panache to keep audiences diverted and amused.

First Snow is an interesting and entertaining film. It's suspenseful and kind of scary.

Journey from the Fall re-educates as well as entertains, but never takes the easy way out, nor does it preach. In the end, it's a snippet of one family forever altered, and despite all the political undertones, it's the human level on which the film succeeds most of all.

War is chaos and confusion even under the best of circumstances, of which this current fiasco clearly ain’t. The Prisoner… underscores this fact, as well as muddying up the waters on such commonly accepted platitudes as "Support the Troops."

Fortunately, the filmmakers have quite a few clever tricks up their sleeves, bringing us a smart, refreshing an affectionate skewering of a celebrated genre.

If you're looking for Rock's trademark smart-ass wit, you'll want to look somewhere else. Likewise when it comes to a movie with something fresh to say about the balancing act that is wedded bliss.

It's hard to remain interested in everyone when they're continually shuffled around. Half-baked storylines abound.

With so many thrills, Loach has completed one hell of a multi-functioning work.

When the most sympathetic character in your comedy is a skinhead, you’re definitely on to something, and Jensen definitely is here.

300 is a feast for the senses (well, two of them anyway) and an impressive technical achievement. More than that, it's a hell of a lot of fun.

Joon-Ho's epic is a masterpiece of monster cinema that's intelligent, innovative, and reaches down to the basic core of family unity to propel its story beyond mere conventions of science fiction.

At a time when our debt as individuals and as a nation is at an all-time high, Maxed Out offers a much needed look at this escalating dilemma.

When The Namesake ends, one feels as though one has lived with the characters instead of just watching them.

As ambitious as this alleged art film may appear - the Bunuelian title proves to be more of a starting point than a true allusion - it lacks any introspection to illuminate the erotic subject matter. (Think Michael Bay attempting to remake "Y Tu Mama Tambien.")

An indolent, PG-13, Disney "biker" flick that does for comedies what Exxon did for Prince William Sound.

The more unpleasant aspects of the case are minimized in favor of telling the story and highlighting the effects of the case on these four men. It drags in spots, but even if Fincher hasn't hit it out of the park, Zodiac is easily a stand-up triple.

While the film feels a little creepy towards the end, Archer has a really amazing visual style and I can't wait to see what he comes up with next.

Whatever the final analysis, Reno 911!: Miami is a welcome breath of fresh air in a year that's already forced audiences to endure the likes of "Norbit."

The festival's audience is as integral a part of the proceedings as the music, and we get a rich portrait of the wide variety of pranksters, iconoclasts, and freaks that descend upon the West Country of England in the hundreds of thousands every year. Glastonbury offers an exhaustive look at what remains the largest event of its kind.

Breach is a look at the insecurities and flaws we all carry, it just happens to be embedded in the story of the worst traitor in FBI history.

As a film on its own, Ghost Rider isn't amazing, but it is definitely a decent popcorn flick. As an entry into the superhero genre, Ghost Rider is only a couple notches above the "X-Men: The Last Stand."

Antibodie does fasten a tight squeeze on its audience, right from the get go, and even despite the long run time, just over two hours, it's a consistently tense ride.

The plot is paper-thin, and the set-up is beyond contrived (a plant waterer?), but there are a surprising number of laughs, and the saccharine content is kept to a minimum. A mostly enjoyable experience, all told.

This is essentially a by-the-numbers revenge film with some attempts at deeper characterization. The difference between this film and, say, "Batman Begins" is that Bruce Wayne, upon finding the tormentors of his youth, never tried to kill and eat them.

Compared to Norbit, “Date Movie” is "Casablanca." If I thought hijacking a plane carrying prints of the film and crashing it into Murphy’s house would put a stop to it, I’d go out and buy a box cutter right now.

Even with a look at many of these people's relationship problems, there's nothing remotely interesting to listen to when they talk. In this case, it's the fault of the script, which doesn't provide much of anything interesting to keep it going for as long as it does.

By far the most appallingly cretinous picture in which Keaton has ever appeared.

The story is so ridiculously obvious it's not even remotely enjoyable.

Captures the building of the freeway as well as the lives of the people working on it. The problem is, the lives of the people aren't all that interesting and the freeway being built isn't either.

Kirk and Mol are convincing, easily inhabiting their respective roles.

Borrowing more than its title from the Frank Capra social comedy, this underdog tale is a rough gem.

It's a nice refresher course to remind us how hard Nader has fought for everyday citizens, ultimately saving hundreds of lives in the long run.

Won't make anybody’s "best of" lists a year from now, but it's nowhere near as offensive as some other examples of this moldy genre.

It is just too bad that the film isn't called "Miniscule Movie" because that is a better description of this epic-less piece of garbage.

Spends too much time straddling the line between exuberant carnage and serious plotline when it should've gleefully backflipped into the former. Grudgingly recommended, but only if you've put your cerebral cortex in neutral for the evening.

It's good then that From Other Worlds doesn't strive for masses of people either looking at the alien spaceships before their demises or working to understand the communications being sent to them. Sometimes it's enough to just have two people there to meet them. Two people are enough for the entire world and that's what makes this a novel experience.

Reviewing it is a wholly meaningless exercise, but I do it against my better judgment that anyone even seeks a second opinion before plopping down their hard-earned money for garbage like this.

This is a truly disturbing work that makes the mind race with worry, and the heart pump with fear, though thankfully not in a way that tests a viewer's unease every minute. Gradually. Ever so gradually.

Your enjoyment of Alpha Dog may very well depend on how put off you are by these facts, as well as how much you buy Timberlake in his role, and how in the mood you are to sit through "River’s Edge" set in the "Entourage" universe.

Visually stunning and contextually provocative, God Grew Tired of Us is quite simply one of the most beautiful documentaries I've ever seen. Intelligent, heartbreaking, uplifting, humorous and reverent, the film is an adventure in what it means to be human.

A well-designed vehicle for the director's long-time star, Isabelle Huppert, whose focused portrayal makes this film a well-honed character study.

For my money, no movie comes close to capturing the high school experience like "The Substitute."

I humbly submit that Cedric the Entertainer be required to give up the "Entertainer" portion of his nom de plume until he actually starts entertaining us.

The action scenes are exciting, the fantasy scenes are creative and the war scenes are brutal.

Tykwer makes of all this murder and madness a concoction of improbable beauty and rare artistry. "Perfume" is not just the finest film of his career but easily one of the past year's most accomplished.

A brilliant exploration into the implications of Freud’s theories on one family.

Sadly, the whole affair is little more than ennui with a pedigree.

The problem with the film, despite the genius of craftmanship and cinematography, is that the film doesn't really have anything new to say.

The premise of Night at the Museum is definitely a bit more creative than the standard family films we are used to at this time of year, but the problem is that the film is marred with many gags that are outdated and therefore feel cheap.

If you're a college football fan, a fan of sports films or just a sports aficionado with a sense of history, this film is a safe bet.

The amazing thing about Venus is that it's brutally honest about all this but at the same time funny as hell.

Zhang Yimou is seriously off his game with the utterly ridiculous Curse of the Golden Flower, a new epic that feels like "Hero" meets "The Lion in Winter" meets "Peyton Place." The film is worthless as a serious work of art, but it may offer the jaded viewer a surplus source of MST3K-inspired wisecracks.

Portraying the same 1945 confrontation from the vantage point of the Japanese was an inspired idea. Unfortunately, the movie it inspired is something of a letdown.

Overall, Norton's effect and Watts' able portrayal are not enough to move the misogyny of the narrative.

The acting in the film is grade-A, with Stallone bringing the more mumbled Rocky from the first film spliced with some rousing inspirational monologues when the moment is right (not forced, not preachy… just perfect).

Dreamgirls is a better musical than "Chicago" or "Rent," but then, that isn't really saying much.

Overall, while the film is a gorgeous, nostalgic cinema experience, and there's definitely a multiple of mini-plots to unravel while you work towards the final resolution, the film comes up as a bit of a dud.

Eragon is laughably bad, mind-bogglingly derivative, and easily one of the worst movies of the year.

Especially to anyone with kids, the film packs some punch. Apart from that, The Pursuit of Happyness is emotionally manipulative and way too glossy to really hit home.

A series of conversations that are sometimes clever and sometimes feel like screenwriting exercises about the details of life, but are always well acted.

It's the kind of movie you watch on a rainy Saturday night with a glass of wine and a fire crackling in the fireplace. It's a film that's meant to be contemplated, but not discussed. And it's all about what happens when you take the easy way out.

It's a reasonably entertaining actioner, and Zwick doesn't shy away from depicting violence or the horrors of war, but as a social statement it falls a little short. And emeralds are prettier anyway.