A must for any true rock aficionado.

The last act of American Gun is quite possibly one of the most ridiculous and forced dramatic twists I've seen in years.

It's just dumb.

With its emphasis on dialogue and political machinations over explosions and kung fu fighting, it remains to be see whether or not V for Vendetta will actually find one (a wider audience).

The film isn't as funny as the highly publicized conflict over the sell of its distribution rights might have you believe, but does contain a series of energized and entertaining performances that stop it from being a complete failure.

Marull's Pilar is quietly powerful and agonizingly terrorized as the '50s-style wife muted and bound by duty.

The narrative that unfolds in the wake of Spence's journey recalls "Paris" but walks too heavy for a character study to gel.

The true power of the film comes from young Marko Kovacevic, who plays the poetic child lost in a family and culture where poetry has no meaning.

It sadly really never lives up to the potential and excellence it's really capable of.

A film that normally someone like Adam Sandler would star in, but for some reason Matthew McConaughey decided to star and show that he's still not funny.

When Aja really starts in on the brutal slayings, he spares no one any comfort at all.

Sometimes Duck Season is amusing. More often, though, it is boring and icky.

Not a film for everyone. If you are squeamish about children being placed in danger then do not see this film.

Fails to make use of its clever dialogue and concepts as it attempts to become something more profound.

Rogerson has crafted an emotionally satisfying exploration of the creative process through people who, before the program started, weren't comfortable with expressing themselves at all.

Thanks to a compact story and some economical direction, it actually ends up better than it has any right to be.

A wholly entertaining film, both as a musical experience and in seeing a fairly relaxed Dave Chappelle doing some of what he does best.

Although it looks cool, appearances aren’t everything.

It's a fun but somewhat uneven romp, enlivened by its unusual setting and lovely female lead, Miranda Otto.

There is a wealth of smaller dramatic triumphs of sly gestures, body language working at odds with spoken words, and minor goofiness (such as repeatedly blowing the rim of an opened beer bottle to create a rough whistle) which makes Home more humane (not to mention more human) than the vast majority of today's movies.

If the fascinating, if disconcerting Our Brand Is Crisis teaches us one thing, it's that consultants, handlers, lawyers, and middlemen can always find a job.

Tsotsi emerges as being among the finest films ever to come out of Africa. It is a brilliant, jolting and altogether powerful blast of energy and emotion.

All the while Madea's wit, which is refreshing on the stage, feels spurious and often misfires.

An overly ambitious guilty pleasure with enough action and violence to keep you interested, it just doesn’t have much else.

The production values on Dirty are so painfully amateurish that it is often hard to determine what is happening. The cinematography is murky and shaky, the editing is dull and clumsy, and the sound recording isn't exactly pristine. Not that any of this matters when you have a script where every third word is scatological.

In terms of "narrative," the film keeps excellent pace, maintains your attention, and educates you on psychological ramifications of memory.

While Trudell has a few interesting and emotional moments in its second half, from the start it is badly hobbled by its worshipful tone.

Elapsed time before I walked out: 29 minutes Total laughs (in that period): 0

What, a white woman can’t take an innocent drive through the ghetto without arousing suspicion? What’s this world coming to?

There is an interesting set-up here for something great but Battle In Heaven never lives up to the expectations.

There are a lot of good messages in The Second Chance about how Christianity is a mix of love, both gentle and tough. Some of those, unfortunately, are lost in the uneven performances.

It's a simple and sweet-natured movie, and one that seems appropriate even for the very young.

We are here for the gore – which this film has plenty of. Too bad it doesn't have much else.

Firewall’s predictable second half betrays the film's early promise.

Sellers' comic mastery is completely fumbled by Martin and director Shawn Levy.

London is the independent film world's equivalent of a fiasco.

This immaculate filmmaking creates an engaging documentary that makes you forget that you're missing the energy of a live show because it's a completely cinematic experience with its own special energy.

Through the Fire is a fraud masquerading as a documentary.

A pleasant diversion which mixes snatches of Wilde's waspish humor with a stylish Art Deco environment. The result is amusing to the ears and easy on the eyes.

It's an inferior remake (of a movie that wasn't that great to begin with), it's poorly acted, and it's yet another in an unending string of PG-13 "horror" movies that do nothing to build even the most rudimentary sense of real dread.

It'll appeal to that segment of the population that goes to movies like this on Valentine's Day, but other than that, Something New feels pretty worn.

You've seen it in "Carrie", you've seen it in "Prom Night 2", and you've seen it in "Urban Legends 2: Bloody Mary". Oh, you haven't seen that one? Well, join the club. Tamara is a hybrid of all three films.

A well-done, oft-times entertaining documentary as it presents this unique brand of matchmaking that may or may not be the ideal situation for both parties.

One of the greatest art documentaries ever made. Through an imaginative mixture of rare footage, audio recordings and contemporary interviews with the living legends of modern art, Rosen has created a cinematic portrait which is, in itself, a work of art.

Bubble is among his (Soderbergh) worst films. What in the world was he thinking with this?

If you hated "Dogville" because of the overage of narration or the length of time it took to finally get to a point, you'll be pleased to know that von Trier has lessened both those elements. With that said, it still has some of the same flaws.

Unfortunately, Brooks errs badly by having his film centered in India. Yes, India - which, as most people know, is not a predominantly Muslim country. Rather than look for comedy in the Muslim world, Brooks uses this film to make fun of contemporary Indian society.

If anything, one wishes the film would have spent even more time with Peebles in his personal life.

Obviously, this is one subject which may not seem to require the attention of documentary filmmakers.

24 Hours on Craigslist is the ultimate people zoo.

Perry creates an objective yet not overly dry character study of the man, now a fugitive living in Japan, as he recalls his days in power.

First-time director James Gartner has managed to whittle away whatever was compelling about the 1966 Miners championship run.

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.

What prevents Hostel from fully harnessing the suspense factor in its rising action, climax, and conflict resolution is the insufficient impetus to pity or to feel too badly for Paxton and Josh.

A touch above the usual adolescent male friendly films of Happy Madison's previous on-screen massacres (see "Deuce Bigalow: European Gigolo" for example”) but it isn't quite as smart or funny as other recent comedies like "40 Year-Old Virgin" or "Wedding Crashers."

Thoroughly obnoxious and relentlessly unfunny comedy.

As a matter of fact, Initial D is an anti-car racing film. It's not about thrills; it's about how to perfect the art of drifting, philosophy, and how to transcend the human condition.

Allen covers it all with intelligent dialogue and unexpected moments of clever visual storytelling.

Every single performance is the result of a cast that has gone to the far reaches of acting ability and even exceeded them.

A delightfully silly romp which reinvents the legendary Italian lover's adventures into the realm of broad farce.

The Matador has that shiny sheen that quickly fades, yet is still fun while it lasts.

Even if it wasn't exactly historically accurate (the film is only "inspired by true events," after all), innocents are killed in the crossfire all the time when these kinds of missions are undertaken, and it's a cop-out for Spielberg to pretend otherwise.

The Ringer is astoundingly craptastic not because the handicapped are handled poorly (though if they were paid more than union scale I'd be surprised), but because it's one of the most singularly unfunny films ever made.

A typical end-of-the-year dump film, in that there's almost no reason to see it.

Luke Wilson has done some of his best work in dramatic roles (see "The Royal Tenenbaums" for clarity) and while he is not playing an entirely serious role here, his performance is still the most engaging.

It's the curse of overacting and overdone shtick that does them in.

There is some very un-Mormon gender bending going on here.

Here is a movie that celebrates the heyday of adventure cinema even as it embraces technology's bleeding edge. And I'm willing to forgive a lot when giant gorillas and tyrannosaurs are involved. Must be the art snob in me.

This interesting and humorous ride brings a wild variety of Grace Lees, to Grace’s delight and our amusement, providing an informative and heartfelt look, more personal than academic, of a culture and the single bond they all share.

Rarely interesting, always confounding.

To its credit, the film's costume design is stunning. But unless you have a kimono fetish, there's no reason to pay a good dollar (or a yen, for that matter) on this junk.

This much-ballyhooed gay cowboy melodrama is an inert disappointment.

In Mrs. Henderson Presents, Bob Hoskins lets it all hang out.

Younger children getting in on the ground floor of fantasy will enjoy the film.

Every rumor you’ve heard about this film is true; it’s an absolute wreck.

Transamerica is a modern-day Sullivan's Travels.

Some of the footage is exceptional, yet several of the more impressive stunts are shot from so far away on digital cameras that the resulting onscreen resolution is just a shade above god-awful.

An entertaining experience as the filmmakers focus on a few select boys who provide a wealth of charm as they struggle with their new surroundings.

Strong performances from Vera Farmiga and Hugh Dillon keep things from becoming overdramatic.

Watching these old pros elbow their way into the spotlight is the film’s finest surprise, but watching Plowright out-act them all is the ultimate joy.

For a comedy, it isn't that funny. For a thriller, it isn't that thrilling. In short, it would have been a much better movie if focused on either/or.

Despite the fact that we are watching Reynolds do the same schtick yet again, director Roger Kumble never lets him outlast a joke or take a gimmick too far. The plot is nothing short of formulaic but what comedy of this nature isn’t these days?

To paraphrase the play's most famous song: how do you measure the lien against your soul when you're forced to sit through something as forcibly maudlin as Rent? I dunno, but 525,600 minutes is about how long this movie felt at times.

If there is one film which makes the most out of life, this is it.

A bleak and powerful movie, made all the more sobering by how much of it isn't fiction.

The film's quick pace and near-constant action carries you along quite nicely, and by the time Voldemort (Ralph Fiennes) makes his climactic appearance, one can't help but look forward to the remaining films.

Cash is a legend, and deserving of a more thoughtful portrayal than what we’re offered here.

If you like your boys pretty and your stories incredible, this movie is for you.

A strangely inert affair. The stories devolve into one-dimensional squabbling and too many loose threads flap around the edges.

Gratuitously brutal, chronically preposterous, abysmally unoriginal, pretty much pointless and virtually 100% free of credible characters, Derailed represents career lows for its stars while marking an unpromising English language debut for its director.

A low-key, warm-without-being-schmaltzy childhood adventure story that will engage younger viewers without driving their parents too crazy.

A rare pleasure.

Once you become accustomed to her material and begin to anticipate it, some of the shine comes off the act.

A heartwarming, cleansing film that's simply good for the soul.

A fun, structured ride.

Loaded with unoriginal ideas, weak comedic concepts, and underwhelming emotional climaxes, the movie is the definition of bland.

Too much of the time, Jackson is a complete blank, like he's bored with his own story.

Seriously, it's a bad sign for your "kids movie" when the kids in question are asking their parents, "When is something going to happen?"