A solid, whirlwind of a horror movie, with more twists and turns than a hula hoop competition.

Far from a disaster, but doesn't rank with Mann's best work.

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

Its storyline is very predictable and cliché but teen girls will no doubt have a good time with this movie anyway.

The Ant Bully, though short and well voiced, is nowhere near as important or influential as it tries to make itself seem and it feels more unnecessary than anything else.

The idea of a gay version of "American Pie" might not seem too tasty, but Another Gay Movie offers a fabulous surprise in not only matching that rude boy classic's unapologetic rude humor but by establishing its own identity as a genuinely funny and often touching coming of age comedy.

Like a good rock record, Brothers of the Head isn't easily explained. But its original fusion of real and surreal will cling to your cranium for years.

I was desperate to eat at Shopsin's by the end.

It's the journey that offers the most enjoyment. Well, that and the beauty pageant climax, which I won't spoil here, but is one of the funniest scenes from film in recent memory.

A treasure in celebrating remarkable women with a unparalleled zest for life.

Ultimately, Smith finally achieves that perfect balance between humor and heart that he's been dancing towards with all his films.

Lady is more of an ensemble picture, and truly the Cove is the most ethnically diverse and community-minded apartment complex in the continental United States.

One of the best movies of the year, and a great accomplishment for Messrs. Harmon and Schrab. Maybe now we’ll get a feature length "Robot Bastard" movie.

Neither fun nor funny.

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.

Theaters showing Mad Cowgirl should install seatbelts, because audiences are in for the ultimate wild ride.

Little Man is putrid.

Fails to satisfy.

After sitting through this movie, you will want to throw something more pungent than rice at The Groomsmen.

While the episodic script feels fragmented, Macy’s consistency unifies Edmond’s journey.

The film is a wonder and a joy to watch on any number of levels.

Exactly the kind of thing most of us have in mind when we think "popcorn movie." It's largely brainless, pretty to look at, and produced solely as a lead-in to another moneymaking sequel for Disney.

Isn't as dark or sinister as its source material, but it comes closer than any other filmed attempts to this point. It may only be a decent movie, but it's a pretty fine PKD adaptation.

Cantet weaves a dark, disturbing story of hedonism, casual racism and the lethal consequences of self-indulgence in his superb drama Heading South.

Actually one of the better comedies I've seen this year speaks volumes for the quality of the performances and the caliber of the script.

I wanted to like Superman Returns, but Singer and company are so concerned about doing justice to Superman’s past, they fail to generate much interest in what, if any, future the franchise might have.

The backdrop of this seedy motel is just the perfect place to illustrate the awkward times of early teen life.

Chock-full of offensive stereotypes and puerile in-jokes.

So who did kill the electric car? There are many suspects, and as it turns out, most of them are guilty.

The problem with Sandler’s latest movies is that he now feels the need to inject some sort of dramatic conflict in order to complete his character’s shallow story arc of maturation/redemption. Introducing such mawkish sentimentality causes the humor level in his films, never that elevated to begin with, to sink like America’s credibility overseas.

A consistently provoking dark comedy that not only sheds light on our cynical society, but on mentally unstable people who find solace in children.

For telling America to acknowledge how far the country has deviated from its values and how painfully it has failed to make the world safer, this is the most important movie of the year.

The performances in the film are soul-saving.

It’s a weak sequel, to a weak series.

As with "Napoleon Dynamite," Hess' sense of humor is an acquired taste, where all the characters speak in peculiar cadences and are afflicted with a terminal case of the "quirkies." What’s unfortunately missing from Nacho Libre is much in the way of humor.

Kevin Bacon's witty and effective, yet squirm-inducing, directorial debut.

Wordplay is...well...just about as exciting as a feature length movie about people solving crossword puzzles can be. Not very.

Leave the Visine and wrapping papers at home for A/K/A Tommy Chong, a surprisingly clear-eyed, sober account of what it’s liked to be embraced by a culture, while loathed by the Powers That Be.

If Cars is indicative of the kind of movie we can expect from Pixar post-Disney merger, well, there's always Miyazaki.

The songs in the film are a blast and John C. Reilly and Woody Harrelson share one of the funniest singing moments onscreen ever.

Seriously, that kid is creepy as hell.

While The Break-Up fancies itself the heir apparent to other vindictive failed relationship movies like "Modern Romance" and "War of the Roses," its lead actors lack the comparable appeal to hold our interest

Think of "Escape from New York" starring two French Spidermen on speed, and you've got District B13, a snazzy, sensational action ride from big-bang guru Luc Besson.

The scenes feel real and both Duplass and Aselton do a great job duking it out. The Puffy Chair combines great original comedy and solid acting to make a fun movie.

There is energy to this film that is somewhat different from Nunez's others. Along with a terrific cast, Nunez keeps the action driving forward: dangerous, sexy, and conflicted.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

A thoughtful and skillfully developed story and a true Independent film.

An Inconvenient Truth is something you rarely see in movies today: a blatant intellectual fraud. Shame on all of the people involved in this travesty.

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

Even more frustrating than the trite dialogue exchanges, is the robotic performances delivering them. This is Tom Hanks' worst performance is years (maybe even his worst ever). Ron Howard's slothful direction is giant misstep from his previous effort ("Cinderella Man"), relying on techniques and hopefully he won’t repeat it again.

Aside from having some great animation, the writing is funny and clever.

A ridiculous messy Z grade film that should have been released straight to video.

With two of the three engines effective, Twelve and Holding unfortunately breaks down by trying to wrap up its problems too neatly. In this vision of early adolescence, the script throws in solutions when the preteens are still feeling out their issues.

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

The kind of film that's too romantic for younger viewers and too redundant for young teens. For both sets, the laughs come infrequent (if at all), no thanks to Lohan giving another sub par performance.

An original, complex, and utterly gruesome revenge parable, and never portrays its characters as black and white. Considine handles his performance like a pro, and only adds to the pure skill behind it.

People like Amy Grappell should be highly honored for showing those parts of the world that we do not know, despite news networks insisting otherwise.

Watching this movie is like sitting on your couch for two hours to catch a little network prime time: you may be mildly entertained, but damned if you’ll remember any of it five minutes later. On the plus side, you probably won’t care.

We still love you, Terry. Happens to the best of us. But, man, what a stinky load. Someone get the hose.

Yet another light weight PG-13 film that poses rather well as an honest to goodness horror film.

An original and utterly unconventional tragedy of fantasy and reality, and the potential lethal results of worlds colliding. Ed, glad to have you back.

A good film, but it should’ve been a great one.

The romance here is rich and the laughs plentiful.

Another rah rah girl power film, is your formula sports film.

You’re unlikely to come across a more powerful film this year.

A film like this has to be seen. It's beautiful, it's encouraging, and it really inspires its audience to commit to something positive.

The recreational vehicle has a long and storied tradition in American cinema, from "Damnation Alley" to "Lost in America" to "Stripes." Sadly, RV shares little of its namesake' nationwide appeal.

A brutal mystery that's more beautifully poetic than the previous entries but still just as captivating. From opening to closing credits, every image is photographed as if it were a painting; even those involving ferocious violence are wonderful to look at.

The most frustrating aspect of Police Beat is that it's clear everyone involved has great talent...Too bad all their efforts are lost in the service of pointless material.

Do not, under any circumstance, approach this film lightly. Prepare to be depressed, agitated and shocked. And prepare to see a brilliant work of cinematic art.

It is definitely the weakest movie of the Weitz catalog and will certainly be forgotten faster than Hung himself.

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

As I sat through this two hour stumble through what looked like fog, I just kept thinking to myself how this might be the best looking bad film I've ever seen.

The ultimate goal is entertainment and from an entertainment standpoint, The Almost Guys succeeds.

The series has turned into the cinematic equivalent of a flat bicycle tyre – it starts off with lots of air in it, but can quickly go flat when punctured.

A tough sit, but it attracts more than repels you. It commands your attention. Once it lands its hooks in you, there's no tearing away.

Without much help from a weak script, and barely in need of some carefully tuned cinematography, Mol fuels so much of the film that a handful of lackluster elements seem to work.

Ultimately a complex meditation on this moral conundrum, a raw tale of survival against impossible odds, and a dashing adventure yarn all in one.

The story's no great shakes here. However, the power of this film lies in the sexual tension boiling between the characters and that makes for a great date movie.

About as flat as a five day old soda.

Unfortunately, director Paul McGuigan tries to make it all serious at the end, and this isn't the kind of story that should be taken seriously.

Another disastrous comedy aimed at second-graders and anyone else who thinks farts are still funny.

Lackluster dialogue, ludicrously unbelievable storyline, and the fact that the entire film looks and sounds like it was shot on a camcorder mean nobody outside of the studio’s target demographic is likely to check this out.

There's no denying Banderas' talent as an actor, and he's admittedly fun to watch. The rest of the cast are serviceable, meaning Woodard finds new ways to show us how this Latin heartthrob melts her icy exterior.

Entertaining and highly watchable but in the end, it just feels trite.

A rich drama that gradually evolves into a feel-good story.

All of these soldiers were valiant in their efforts to not fight in a war they felt was a deceitful practice in government fraud, and they succeeded through all the hardships.

With a clumsy hip-hop score permeating every free inch of the soundtrack and ugly 16mm cinematography that would never be allowed out of Film School 101, the audio-visual experience is a wreck. The quality of Quality of Life is non-existent.

Fails as a sequel because we’re not in the 90s anymore. Gone are the days when characters could answer questions with questions and hypothetical situations and still sound clever and cool.

House definitely put a smile on an insider's face, but outsiders can enjoy the ATL too. The only prerequisite here is the ability to laugh.

If you're over the age of 11, there's obviously not much reason to see this.

B movies are fun because they're rinky dink. I got the joke and just didn't like the joke even though I respect Gunn for doing what he wanted to do.

With brilliant dialogue out of the 1940s and graceful visuals that add depth to the dark comedy, Johnson debuts with a smart, self-assured feature that portrays adolescence like no other film has.

The Beastie Boys have delivered the ultimate gift to their fans and the title couldn't be more perfect.

With this film, I believe that the strange and wonderful legend of Daniel Johnston will only continue to grow.

The primary weakness is in the story itself, which at times seems like mere background for the snappy banter and knowing glances.

I never really expected something so utterly lame-brained. Though, the film is not as awful as I've heard, it's quite possibly the laziest script I've ever seen.

Beautifully shot and filled with lovable characters you could watch for hours, Americano is an amazing journey that makes one yearn for travel.