The Machinist is so brave and visually impressive, it should demand an audience.

Green makes you think and his films are so quiet and subtle, you almost find yourself in the film, wrapped up in the moment.

Given the episodic nature of the film's organization, Jules's monotone voice-overs, and the over-arching theme of search for self, Fish Without a Bicycle "watches" like a TV show.

The actual performances during the film range from excellent to somewhat amateurish, but this amateurism is easily absorbed by the sheer power of the imagery on display.

Director Mike Bencivenga takes what could so easily have been a trite, cliche-riddled melodrama and instead, somehow turns it into...well, a wry and moving melodrama.

It captures both the exhilaration and tedium of the filmmaking process--and of looking for and finding passion wherever it might be.

Laugh hard, laugh long, but just laugh at true greatness. Parker and Stone have done it again, multiplied millions of times.

Szabo could have made a conventional melodrama...The director takes an alternate route and offers his viewers a drama burnished with a coat of comedy.

It's more about watching an ensemble cast try to one-up one another's performance than anything else – and for what it is, it works.

Achieves the impossible in taking a genuine socio-political tragedy and turning it into an anvil drama which will fray the patience of the most sympathetic audiences.

Garris wrote the screenplay himself and adds one significant improvement over the original short: changing the date of the story from 2001 to 1969.

Had that window been opened just a bit more, Z Channel would be a remarkable film. As is, it's thoughtful and arresting.

The film's screenplay is thick with major lapses in logic, resulting in a story that ultimately makes little sense.

The film also benefits from unusually solid writing and a masterfully understated turn by Billy Bob Thornton.

Inspires plenty of head scratching and maybe a little irritation.

Filmmaker Ron Mann and actor/activist Woody Harrelson have followed up their hilarious 2000 documentary "Grass" with the equally amusing Go Further.

How can such difficult subjects as under-age sexual activity, brutal beatings and murders be presented in a way that doesn't alienate the audience, yet still capture the horror and circumstances in a believable manner? The solution? Assign Kai Pieck to the task.

The film's leisurely pacing is often too slow for its own good, and many scenes meander endlessly with no true payoff.

The movie sucks. It's beneath Argento to be making such drek after so long a career. He's better than this.

The men in this movie are little more than beer ad cliches going through Ford tough motions as though trapped in a bad country music video. There's not a realistic moment or character or performance in the picture.

Joyless, soulless.

The resulting product is so disjointed it's hard to tell if Russell dumbed down the film in the hope of garnering a larger audience, or if I Heart Huckabees simply isn't as smart as it likes to think it is.

Fascinating, horrifying and hilarious.

While I admire Bishop Jakes and I frequently watch his sermons on TV, I have to question his tactic of charging people admission to generate hosannas on his behalf.

Extremely funny, side splitting good time.

There isn't much here any semi-regular viewer of "The X-Files" hasn't already seen a dozen times before.

Subtle, funny and touching. It’s not like a blow-by-blow “Birth of a Hero” type of film. The script is near perfect and the acting is spot on.

Her skills and personality were more polished than most contemporary leaders, and if she were running for office today, unshackled by societal prejudice that existed in her era, she would be a force to be reckoned with.

If you liked "Magnolia," you'll also like Mind the Gap.

Easily the most surprising comedy of his career. The surprise: it's not funny.

Boasts some of the best filming seen in today’s so-called “dramatic documentaries,” but an unrefined script and frankly unbelievable ending keep it from becoming something better.

Haunting and chilling, yet biting black tragi-comedy.

While the antics of the group provide hilarity the documentary suffers only because there is large amounts of padding.

The results are either darkly comic and tragic, depending on the viewer's mindframe. But McElhinney's route to these results, as with the Bertolucci, is nothing short of stunning.

You aren't likely to see a film with more warmth and good humor anytime soon or one that does more to give feel good filmmaking a good name.

It’s an exhilarating experience, and raises the bar for the use of digital technology in film.

Slow paced, but interesting.

Ghastly.

Unfortunately, the outcome here is so over-the-top that it’s going to wind up alienating most everyone that sees it.

Very unusual that a film focusing on characters this miserable can be so uplifting, but here it is, and it's damn fine.

The movie crosses the line between offering mindless entertainment and insulting our intelligence.

Dumb, loud, and ludicrous in the extreme, and I actually enjoyed it.

Can be fun. Just don’t think about it too hard.

Never quite clicks, primarily because the central male characters are badly miscast.

Something in Toback’s approach to the subject of sex, somehow both lecherous and detached, makes it tough to get a handle on the film.

This is a film which resonates on a surprising number of levels. But the level on which it undoubtedly works best is the victim-goes-postal-and-takes-the-law-into-his-own-hands level.

An unconventional fairy-tale. There are no monsters to kill, the Prince character doesn't strike you as too charming, and the heroine is not the fairest maiden in the land.

The characters’ actions here are goofy, immature, unsettling and at times downright silly.

As a documentary, Persons of Interest could've benefited from further elaboration of the actual policies put in place, but as is it's still a disturbing, matter-of-fact look at the consequences of letting fear engineer such policy.

It's by no means a classic, but the dialogue and high caliber of performances mean you’'ll get your money's worth, especially if you're really into empire waistlines and that infamous English haughtiness.

Hero is not a CTHD clone; it’s a wonderful movie in its own right, staking its own territory as a dreamlike meditation on motivation and love.

More tongue in cheek than its predecessor, and yet less over the top, it won't do any permanent damage. Of course, it won't leave much of a lasting impression, either.

The movie contains not one surprise, not one shock, not one scare, not one bit of interest for any moviegoer over the age of ten (mentally or physically).

Full of enough legitimate red meat to incense salivating Democrats who can't wait to tear into a pound of Bush's flesh in November. Yet, this film should truly frighten partisans on both sides of the aisle.

A horror movie that starts off decently but quickly falls victim to cliché. It is, ultimately, a disappointing genre entry, and one that falls far short of the original’s greatness.

Fun, giddy, and intoxicating as the endless soirees in which it revels.

Estes and his team did an admirable job in bringing together a team of youthful actors who carry the weight of a fairly weighty movie.

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.

It will end up frustrating fans of both movie franchises enough to make them wish someone more competent was in charge.

If there is one high point to be found, it's that Julie Andrews sings for the first time since her 1997 throat surgery.

After a solid hour and a half, the climax almost seems to have come from a different movie. Collateral is still a hell of a ride, but could've used a smoother landing.

Wooden, one-dimensional epic.

I won't spoil the ending, but if Code 46 is to be believed, women will have it even worse in the years to come.

Equally charming and addicting all the way through.

Every hour that ticks by your stomach drops a little more as the outlook becomes more bleak.

That all the events filmed actually took place make Stander a highly entertaining ride.

In throwing hatchets at Murdoch and his silly Fox network while pretending the rest of the media world is fine and objective, the film comes across as a shrill, one-note slam against a very easy target.

What is surprising is how fresh Demme’s version is and how close it approaches the original in terms of quality.

Kids of all sizes and genders are going to be disappointed.

Everyone here sounds trapped in a high school staging of “The Crucible,” and after about an hour, this high-toned creature feature wears out its welcome and starts to seem rather boring and pretentious, the two greatest sins any movie can commit.

Rich with wonderful music and images.

Gozu is a riddle wrapped in an enigma wrapped in a cow's head. If you think that this last statement doesn't make any sense, just watch the movie.

The story of lust, love and betrayal intriguingly bemoans racism and prejudice of bygone times while peppering the “history” with more modern references.

The appeal of The Burial Society lays in its unusual and obscure take on an otherwise mundane tale of greed, treachery and double-cross.

When Braff keeps the tears and the kookiness in check, he takes us into some unusual, interesting areas of the human psyche. And makes us laugh a good deal while he's at it.

As entertaining and surprising as the film is, however, nothing can prepare one for its rousing final fight scenes.

Over all, though, the picture fires on all pistons. The globetrotting's a good time-I can't think of another spy film that's featured as delightful an assortment of seamy international undersides.

The end result is a slow (occasionally glacially) paced movie that relies more on soulful facial expressions than dialogue that honestly represents what the characters are feeling.

Basically, what you have in Ju-On is a collection of effectively scary sights and sounds - sound effects play a huge part in rolling that chill down your spine – and that's about it.

At worst, it’s an insult even to the intelligence of 12-year olds.

Proyas creates a futurescape that's snazzy in a “Blade Runner” lite sort of way and one or two of the film's effects are eye poppers.

The film is a visceral overload of wordplay ranging from the spontaneous neighborhood park jams to the overflowing concert venues.

Isn’t really about drugs. It’s about what motivates people to make hard choices. However, deciding whether or not to view this unique glimpse into a seldom seen world should be easy. It’s a must-see.

Rashid's love of cinema is obvious in every frame. He interweaves nostalgia with modern subject matter. Pace and comic timing are perfect.

Burgundy and Carell's Brick Tamland, by himself, would be worth the price of admission.

You keep waiting for the pot to boil over, but it never does. Instead, Barker lets the steam vent out all too easily and the film falls flat in the end as a result.

Simply put this is a TWO HOUR AND 20 MINUTE long documentary that consists of nothing more than millionaire rock stars bitching, whining and complaining about their problems.

One of the best surfing documentaries ever filmed.

Thankfully, the dependable Ray Winstone ("Sexy Beast") is in the film too and gives a droll, slightly-more realistic take of an uncultured abet to Arthur's side.

The sequel is an uninterrupted 80-minute dialogue between two richly imagined and performed characters.

As austere as the unflappable Mr. Redford, The Clearing is an enterprising but ultimately unsatisfying exercise that promises quite a lot, but delivers very little.