Any minor flaws Off the Map has are easily forgiven by great acting and beautifully shot landscapes. Campbell Scott does a great job of adapting a stage play (by screenwriter Joan Ackerman) to film as well.

A stripped-down, small town "COPS" without the flashy editing and hip-hop soundtrack.

Easily one of the most lackadaisical movies I've seen. Don't get me wrong, the plot is entertaining enough, and there are some genuine laughs, but almost everyone in the movie is half-a--ing it.

You'll either walk away with a headache,or praising filmmaker John Maybury for his unique narrative...and it is unique, but in my eyes, it's also a big giant mess.

While the film isn’t completely perfect, director and cinematographer Shona Auerbach shows that she’s a great new filmmaking talent.

Hard-headed to the end, the three women in Face prove that if nothing else, stubborness and inflexibilty run in the family.

A symphony of small gestures, throwaway glances, brief exchanges of unexpected observation and silences which actually say more than pages of dialogue.

Until this past Friday, the worst werewolf film ever made was, hairy hands down, Mike Nichols' "Wolf." Cursed now assumes that dubious distinction and someone is going to have to try very hard to wrestle it away.

Veers back and forth between indigestibly syrupy romance and vulgar "ethnic" comedy, with healthy doses of Christian proselytizing thrown in for good measure.

A lopsided effort which is part-thriller, part-social commentary, and totally forgettable.

Slightly better than your run-of-the-mill late winter horror film.

Incredible because for a 100 minute movie, Alexandra's Project passes like 30. Incredible also that most of those 100 minutes take place in a single living room. It's the tension and performances that pull you through, never letting your attention stray from what's going down on-screen.

As Hitler, Bruno Ganz ignites the screen with every appearance.

Judge and Hertzfeldt take us on an international trip through the world of animation. From the silly, to the beautiful, to the terminally lame and pretentious, there’s a little something for every taste here…yeah, even for those who love farts.

So just do yourself a favor, get out there and see Ong Bak. You’ll leave the theater bruised and battered, but you'll be happy about it.

The movie slides into slapstick at times, but it never overpowers the story.

Well-crafted and, in places, highly informative, but with the exception of some of the original film's hardcore sex scenes and the aforementioned Mob angle, there's little we haven't been exposed to before.

This is an excellent movie -- by all means, flock to it!

As an affecting work of compassionate craftsmanship, The Letter delivers.

This film does cause shivers, creeps, scares, and jumps. It may even make you scream a bit.

A decent film, but not a great romantic comedy.

A small but excellent cast supports McKellen in what is a beautiful and intelligent film.

Christopher Munch wrote and directed this feature and it is nearly impossible not to feel deep-seated anger towards him for what he has wrought on screen.

A harmless little charmer with a uniformly fine cast, played by the numbers for full tear-jerking effect.

This well-crafted documentary shows us that getting old isn't all that terrible.

It's difficult at first to tell whether this is a documentary or a fictional work and this makes Assisted Living all the more involving.

A tedious, snail-paced mess.

Tedious, derivative exercise, stolen from a dozen or so horror/action films.

Polson offers up a few chilling scares, but the underwritten screenplay really does show off its weaknesses.

Should become required viewing for all troubled youth, their uncertain parents, the military establishment and their detractors or supporters.

All the excessive slapstick and juvenile antics keep the audience from making any kind of connection with the characters and prevents Are We There Yet? from being anything more than another disposable January release.

A magical vision of the ring of the imagination.

Playing like a video coffee table book displaying some of the man’s most notorious work.

It doesn’t surpass the original, but neither does it disgrace its lineage.

A stale and poorly researched documentary.

Unfortunately, the accompanying story threads tend to bog down the action rather than provide contrast between the games.

Elektra isn't just poorly executed, it's emotionally false and makes absolutely no narrative sense.

A beautifully crafted documentary.

Isn’t very effective as a thriller.

Good ensemble performances in front of the camera are supported by clever shooting and cutting, which work, not just deftly but unobtrusively so, with and within the readily apparent technical limitations at hand.

More of a hangnail sketch -- no one can come away from this offering with a clue on what makes Wall Street click.

Deliberately aiming to put Korean animation on the map, [this] is a tour de force blend of CGI, traditional cell animation, miniatures and live footage.

The guy (Grace) simply steals the show here. He's at once goofy and hammy, yet so lost, sad and sensitive you buy into his performance from the get go.

The single worst Shakespeare film ever made.

Johansson is a stunningly charismatic actress. She gives Travolta a serious run for his money.

The primary problem with The Assassination of Richard Nixon comes in its attempts to make drama out of a minor man's minor stab at infamy.

It's just a murky, dark mess where no one wins. Especially those of us watching it. Simply put: Darkness fails. It's about as chilling as an unplugged refrigerator.

Bacon's performance is so riveting that you no longer see the 46-year-old actor.

Director Jay Roach continues his regrettable "Austin Powers" habit of beating the same shtick to death until nothing of comedy value remains.

The much-publicized decision to go "younger and sexier" with the casting--a move that turns out to pay off handsomely, enhancing and enriching the material.

The film presents the Rwandans in the worst possible way: venal, corrupt, vicious, stupid, barbaric and completely incapable of governing themselves. Honestly, I've seen more intelligent and sympathetic depictions of Africans in Tarzan movies.

This is Scorsese’s "Schindler's List", for better and for worse (mostly the better).

Successful in kicking off a largely amusing and visually engaging franchise.

The whole film appears over-blown and pumped up on marketing steroids.

Such a hopeless mess that there's no fun in tossing insults at its endless shortcomings.

Rare is the motion picture which grapples with issues this provocative and profound. Rarer still is one which does so this well.

Eastwood tells the story at a pace well under the Hollywood speed limit, tosses in details so beguiling they seem about to sprout into motion pictures of their own and bathes his subjects in shadows as lovely as those in any Rembrandt.

This film's twelve times better than anything else on offer at the moment.

Will ultimately be remembered more for the trademark Anderson look than for any of its characters or any emotional impact.

The cinematography is stunning, particularly where Matsumoto and Sawoko walk through the four seasons of life.

No hack job. It has more impact than your Rings, Grudges, Eyes, Dark Waters…out there and it does it with a minimum of actual on-screen scares. Finally, a real filmmaker gives it like it should be given...and it hurts so good.

Offers neither horror nor style.

The brightest facet of the movie is that even as they face oppressive conditions they still persist with joy.

An intelligently written, well-acted, and thoughtful film about adult relationships. I’m surprised it came out of Hollywood.

Quite simply, House of Flying Daggers is a film that sets several new standards for production and entertainment values. It is a wild riot of color, music, passion, action, mystery, pure old-fashioned thrills and even dancing.

It's not often that a film changes history, but it's just possible that Irish writer-director John Deery's righteously energetic Conspiracy of Silence just might help alter the course of 21st century Catholicism.

A dark comedy whose story is propelled by shock but sustained by issues of love and forgiveness.

The film is near perfect in its attempt to properly mix the irrationality of war in with an interesting love story.

The story goes on and on, endlessly fascinating to the last - the sensational trial, the convictions, the revelations, the recriminations.

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

A movie celebrating the life of the greatest military conqueror the world has ever known should feature a bit more conquering.

An abysmal failure.

Delightfully goofy.

Cage is the glue that holds it all together, with a determined obsession in everything he does here.

Such garbage that taking a shower at the Bates Motel is a more appealing alternative.

The mystery behind Jandek is still intact at the end of the eighty-eight minute-long film, but it’s diminished substantially because you feel like you know too much.

Recommended for the toothsome Jennifer Tilly, the manic Billy Boyd, some inventive deaths, some inspired gore, and one frankly hilarious scene involving Tilly and a decapitated corpse.

A worthwhile way to spend some of your precious leisure time, especially in this season of obnoxious cartoons and ham-handed holiday fare.

Audiences enjoyed the original “Bridget Jones” because it hit close to home...But the sequel has about as much emotional depth as a sitcom

It is Condon's adroit handling of the subject matter and the caliber of performances within that carry it above the norm.

Isn't a terrible film. It's not offensive, controversial or even interesting in any way.

A gripping tale of survival and the kind of smart thriller that will gain much-deserved attention for both director Stolhand and actor/writer Uygar Aktan. Simply a stunning piece of filmmaking.

Just like “It’s A Wonderful Life” is shown on TV every year, The Polar Express should appear in IMAX theaters that traditionally.

An original and highly memorable comedy, and mention should be made of Ebiri’s work beyond filmmaking: he is also a film critic for New York Magazine, thus giving proof that those who review films for a living can also turn around and make a damn fine movie.

Isn’t just a "gay movie." There are just gay people in it. Anyone can get into this lovable film.

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

The script gives both actors, as well as the supporting cast, very little to work with, aside from some crude John Waters-inspired put-downs and plays on words.

While Intoxicating is far from a perfect film, it is nonetheless a highly effective -- and affecting -- clash of two fiercely independent talents, Kirk Harris and Mark David.

The smart dialogue doesn't hurt, of course, and perhaps the best work is done by Bird himself, who provides the voice of Edna "E" Mode, superhero fashion designer.

Hate crimes, racial tensions, economic strife, illegal immigration, and the preservation of white neighborhoods are familiar issues in this nation, but the crux of the documentary Farmingville is where these issues play out.

The heart of Ray, of course, is the music and, whatever other shortcomings the film may have, it does not fall short as a showcase for the artist's greatest hits.

May be the best independent horror film to have come out since "The Blair Witch Project." It's certainly better than "Blair Witch", and more fun, more gruesome, and more macabre. In a very delightful way.

A fine cast, understated treatment and tantalizing premise make for a movie well worth seeing even if you don't come away believing.

There are so many things wrong with Thomas Vinterberg’s It’s All about Love that if I wrote them down, this would be a five page review that would sound like a spiteful rant.

Stevan Mena nonetheless is adept at creating images that disturb and disgust on levels most horror filmmakers can only dream of.

A powerful film worthy of a truly extraordinary American.

Alexander Payne is becoming one of the greatest American directors of modern cinema and again, Sideways is on its way to being one of the best films of the year.

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