Seek out Last Words if you have an interest in the fall and decline of humankind. It is one of the more stark and striking versions of the end of the species these eyes have born witness to.

What makes this movie so inadequate is that there are some moments in it that could have been really worth watching.

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.

You People chooses to bounce along from one awkward situation to the next, with little time to let the characters feel like actual people.

Neither fun nor funny.

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

Has a wacky charm and a feeling like no other Disney film in recent years.

In a perfect world, movies this clever would open in theaters every weekend. Maybe some day.

In the plus column, Poseidon is a tightly-paced action movie that doesn’t depend too much on special effects for its thrills.

The film pursues its sensitive material with the appropriate degree of care, but the direction by M. Night Shyamalan turns potentially provocative moments into dull eddies of melodrama. Would have made a perfect “After School Special,” however, it barely makes it across the finish line as a feature film.

The new Witchboard is ambitious and fun at times, an overcooked horror revival with a blending addiction allegory, foodie satire, and supernatural spectacle.

If you can handle a movie with a jam-packed ridiculous narrative that doesn’t entirely solve itself, then you should definitely watch Dreamland.

A film that succeeds at being good without really succeeding in being worthwhile.

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.

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.

The best thing I can say about A Dog’s Way Home is that it’s an exceptional film, that you’d find on the Hallmark Channel. Science has yet to count just how many strings the human heart has, but A Dog’s Way Home tries to pull every damn one of them.

Sit back and get ready to melt into your chair.

Ultimately, Blonde is a recommend but loaded with caveats and disclaimers. It’s not for everyone. Its artistic visuals and Ana de Armas’ spot-on performance as Marilyn Monroe is worth seeing, but the almost three hours of emotional trauma may be a hard pass for most.

Sadly, it seems that the people behind this film saw a quick buck over quality and gave audiences a turkey.

This cult chestnut is more intelligent, scary, humorous and effective than hyped recent genre efforts by Coppola, Jordan and Carpenter.

Occasionally fun and constantly deranged, it’s a film that could have been much more with a modicum of restraint. I gave the worms a shot, but I think I’ll stick to eating worms of the gummy variety.

Magic is one of the top-notch films of the 1970s. And if you haven’t heard of it by now, you should never forget the name at this point. It isn’t one of those psychological thrillers out to tie knots in your stomach right off. Like any good magic trick, the excitement comes with the waiting.

A minor and forgettable bore.

Aside from a decent cast trapped in a shoddy everything else, there is nothing to recommend here.

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

It’s definitely a well-crafted genre offering. The writing could be better, with more of an emphasis on the relationships than on the plot mechanisms, but the ending is cool. The cast is also very good, but again, if the script were just a tad bit better, the film would get a better rating from me.

Paradise Hills has pacing issues, and a made-for-TV feel it can’t quite escape. A firmer grasp of tone would’ve benefited the narrative. Yet its creators’ boundless imagination carries it through the rougher patches.

It has its share of eye-rolling moments, but at its heart there's a decent story.

The movie's original moments drown in its overall derivation.

Recycles a great many motifs from "Truman" but never comes close to putting on as good a show.

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.

It's the outstanding performance from Martin Landau that really seems to hold your interest, as well as hold the film together.

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.

If characters with more than one dimension, a plausible story and some sort of viewpoint are moviegoing musts, you may leave 2012 feeling a tad shortchanged.

Exploring universal themes of seeking familial connection and kindness, Adopting Audrey verges dangerously close to becoming as aimless as its heroine. But because of Malone’s sublime performance, it manages to stay on course. Maybe in the future Cahill could benefit from adopting a different approach.

Fortunately, the core cast is phenomenal, especially leads DiCaprio and Lawrence, who are both luminous and effortless. Combine that with the fantastic editing and the jaw-dropping ending, and one gets a flawed but entirely worthwhile viewing experience.

The story is tight and engaging, the acting first-rate, the themes solid and presented without being sentimental or preachy. But let's hope his next film ("Ash Wednesday") has something new to say.

It seems likely that how much you enjoy Nicotina will be tied to how much you enjoyed the Guy Ritchie pictures it strongly resembles. Those who thought “Lock, Stock, and Two Smoking Barrels” and “Snatch” were the cats p.j.'s will likely enjoy Nicotina.

There is humor, drama, and sexual indiscretion, with entertaining and sometimes insightful moments, but the themes are so narratively ill-defined that it never gels.

Even though the screenplay does not explore every character’s backstory enough to work fully, the film is still an engaging coming-of-age story with an utterly brilliant ending.

Plays like a 108 minute episode of Hawaii 5-0, minus the exotic locale.

It’s not for the easily offended or for the squeamish. Porno finds a way to make the disgusting laughable, and I feel that it’s meant to be a fun and slightly cheesy film.

Intermittently amusing.

Onlookers is a novel exercise in audio and visual presentation. Natural light, loads of wild sound, and the environment of Laos are presented plainly with zero artifices or embellishments. If you’re looking for a new kind of travel film, this is for you.

This is an inspiring and emotional watch with one’s mom, and there’s nothing wrong with that.

Just what it says -- good. Not great, but not really bad, either.

The benchmark for any horror movie, of course, is how well it frightens you, and The Grudge is pretty satisfactory in that regard.

It is occasionally a first-rate action spectacle, but it is only the spectacle that merits recommendation.

As with all dramatized stories of real lives, artistic license hammers messy reality into a watchable film. Dramas are not documentaries. The essential emotions of Freddie’s life and the history of the band are here. There’s nothing unexpected in the structure of the movie. It’s a visit with some old mates you’ve not seen in a long time.

The film’s repetitive themes and lack of emotional payoff leave it feeling more like a beautifully acted therapy session than a fully satisfying story.

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

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

An Italian-British-French-Spanish-Romanian co-production. A better argument against multinational cooperation cannot be imagined.

If only von Trier could work beyond the poster art concept. Antichrist stubbornly fails as a gothic nightmare and meanders as a misanthropic two-character drama.

Into the Darkness serves as a keen portrait of a deeply divided country, unsure of where its allegiance lies. Heavy-handed and slow-moving at times, further bogged down by extended speeches about the future of Denmark’s economy/industry, this behemoth nevertheless impresses, simply due to the sophistication of it all.

It’s more than adequate as an old school action movie slightly updated for modern audiences.

For a film about grief, it’s a pleasurable viewing experience. One feels like they are on a lazy river when watching it. Daniela Forever carries the spirit of fantasy-romance films of the past, such as Powell and Pressburger’s A Matter of Life and Death. For those dreaming of escape, this film is for you!

The writer-director’s perverse, continuous, and purposeful avoidance of any semblance of genuine emotion or coherence results in an aggressively unpleasant experience.

The thing is, these chatty, pedantic, annoying characters are simply not interesting enough to follow for five minutes, let alone over two hours.

I loved Downhill for precisely what it meant to be—a character-driven comedy working its way through a painful and real conflict.

An astonishing mess.

If horror flicks came in cans like fake spaghetti, this would be the kind of can-shaped wormy mess that would slowly ooze out when held upside down and shaken.

I found myself just not engaging with the lead characters and storyline as much as I like. In the end, I was just observing people dealing with a problem, while never able to be in the story as it played out.

Takes an unimaginative love story and stretches it as far as possible in an attempt to make it epically grand. Instead, the end result plays out like a George Lucas film without spaceships and lightsabers.

Okay, this isn’t a great film. Maybe it’s not even a good film. But for 1954, “The Last Time I Saw Paris” filled the bill with enough mindless silliness to keep people amused for two hours. Even today, it’s good for a cynical laugh.

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.

Hey, I'm not saying it's bad. It's kind of entertaining, what I can recall of it after two days. It's, uh, okay. Just okay, though.

This is a story about purgatory, though it goes by the name Camp Pendleton.

It looks stylish, sure, but the script is laughable and the acting is ridiculous.

Try as I might, I just wasn’t all that invested in the fate of Alex and Sean or their own private close encounter with the third kind. Which is a shame as the filmmaker shows a keen flair for creating both an interesting visual and aural palette.

For a documentary about drama and all those who love it, director Alexandra Shiva's lukewarm study displays very little of it.

A little boring and extremely long for what it is, all that Azumi really has going for it are several eye-popping battle sequences, including the climax which is a totally delicious celebration of graphic violence, and some nice camera work.

We’re left with a perhaps too tidy ending that picks up the spirits but doesn’t delve into the questions about human nature that the movie raises. Had it dug a bit deeper, it might have been something more than the overall pleasant entertainment vehicle that it is.

If you bought into the messy magic of the first film, you will undoubtedly find much in which to revel with its successor.

Summer Night has an easy, breezy presence about it, but there’s not much going on beneath the surface.

Tells a fascinating story backed up by solid, compelling performances by Rockwell and Henson.

Confused and dramatically overwrought.

A two-time Oscar winner playing a crazy person in a big studio film released in late October. Can't you just smell the pretension? Probably not, given the other ways in which this film stinks.

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.

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.

Aaron Fisher’s debut film is decidedly a comedy, but never draws its laughs by making light or fun of Fisher’s real struggles. He just lays his life out there, and its humorous moments bubble to the surface. Amidst the laughs come genuine and authentic moments from Fisher’s personal experiences.

This is all competently executed, as Prior and Zagorodnii have impressive chemistry, and Rebane allows their performances to take center stage. Unfortunately, even though the two leads are a joy to watch, we can’t help but feel that we’ve seen what Firebird is offering before.

The Tomorrow Man is not one of these high-dramas with something profound to say about human natures. It’s more a chance to watch two veteran actors in John Lithgow and Blythe Danner do what they spent their entire lives doing, and that’s act and act real damn good. They find that right balance between being normal and quirky to turn out a grounded performance.

Greenland 2: Migration is all mind-numbing action with nothing to say. If you’re a fan of Gerard Butler or Morena Baccarin, you will probably have fun with this one. Otherwise, it’s a skip.

Other than being dense in story, Horizon feels like a big epic western. It feels cinematic on the big screen, and the sweeping landscapes are gorgeous. The acting is top-notch from top to bottom.

Overall, the whole isn’t as funny as some of the parts. While some scenes had me laughing hysterically, others had me looking at my watch and feeling like I was in the middle of a “Saturday Night Live” sketch that was just going on waaaaaay too long.

This children's fantasy flirts with the dark side, though family values win out. Thus, the movie remains devoted to heroism and is as opposed to the bad guys as it would be to killing off Brendan Fraser.

This should have been a black comic masterpiece. The cast is certainly up to the task, even in the small roles.

One thing that separates undie from indie is bad acting. Bring it on! There are some stinky performances here, and stinky moments in the script. Great! If it don't stink it ain't punk rock. I'd rather dig the tunes and remember deadpan deliveries.

More criminal than the lack of inspiration in Return to Never Land is the absence of a sense of magic.

Schwimmer impresses with this film.

Scoop is about 50 minutes of plot padded with 40 minutes of Woody being Woody.