A spot-on homage/parody of bad 1950's sci-fi movies.

With exceptional performances and extraordinary imagery, Zvyagintsev has fashioned a remarkable first feature.

Filmmakers Rossi and Novak have done a wonderful job of making all of this entertaining, not just for those interested in the business, but to us ordinary joes as well.

By the way, good luck making sense out of the final fifteen minutes. I'd say people were asleep at the wheel on this one but the film is so pointlessly all over the place that I'm not sure there even was one.

Takes a workable premise wrapped inside a mostly-talented cast and piles it all on poor Bosworth’s shoulders; it’s just not fair, you see how narrow they are.

Suffice it to say that MacDonald has made the finest mountain climbing movie you are likely ever to come across. The cinematography is awesome, the score by Alex Heffes terrific, the reenactments remarkably credible.

A terrific story, years in the making, that clearly stays true to the uncompromising vision of its creators. The results are on the screen.

The result was one of the worst films I've seen in a long, long time as this entire movie proved to me is that it's never too early to start the race for next year's Golden Razzies...

The plot, characters, story and dialogue were all secondary -– or lower. With this in mind, Torque really wasn't that bad. In fact, with this in mind, Torque was actually pretty good.

The story takes some kooky turns and, at times, delves into the supernatural.

The film is a stunning piece of visual poetry that will, hopefully, be remembered as one of the most important stories to be told in Australia’s film history.

Music fans of every stripe should kill to see this film, one of the very best music documentaries in recent years.

The pacing is perfect and there’s no shortage of interesting revelations, and let’s face it, there aren’t many more subjects under the sun that are more interesting than serial killers. Consider "Aileen" to be an essential viewing companion to its dramatic narrative counterpart.

This extraordinary work of cinematic art is among the most sublime, compelling and beautifully crafted films to grace the big screen.

As he did with “The English Patient,” director Minghella performs a miraculous juggling act, balancing his epic, sweeping story with the subtleties of character and detail that make Cold Mountain breathe.

Longtime fans of John Woo, who have come to accept operatic, lead-slinging death dances as an integral part of the director’s powerful aesthetic, will probably be unsatisfied with this neutered variation on his earlier, superior works.

Jenkins' film ranks as one of the past year's very best. Like "In Cold Blood," "The Onion Field" and "Dead Man Walking" before it, her picture provides a mesmerizing portrait of the human side of evil.

Could be subtitled “The Parade of Overrated Actresses.”

Simultaneously offers priceless insight into the nation's past and a worrisome take on the future.

Exceptional performances and unexpected twists of plot keep the story from descending into overwrought melodrama.

Writer/director John Kesselman serves up a stylin' live-action spoof that irreverently milks stereotypes and bravely pokes fun at that which is usually sacrosanct.

If The Return of the King was 2 1/2 hours long, it would have rocked. It would have been better than The Two Towers, which is the best film in the series.

The film makes an honest effort to present this story as intelligent and thought provoking, but ultimately falls flat because it doesn’t provide enough reasons to care.

A fun movie. It accomplishes exactly what it sets out to do. It’s a great first date movie.

A sweet and fresh comedy that was a joy to watch.

If you’re a big fan of the Farrelly Brothers' films, you should like Stuck on You. If their films repulse you, stay home and rent "The Hours" again.

It's quite difficult to find a character we can remotely identity with. This is frustrating because the film is so profoundly well written, acted and filmed.

An achievement of this magnitude is a stunning and extremely pleasant surprise.

Watanabe's charismatic performance and a couple of colorful minor characters aside, The Last Samurai has little to recommend it.

Maybe someday an enterprising filmmaker will make a film about this forgotten chapter in Muslim-Jewish relations. It would be a lot more compelling and memorable than the nonsense in Monsieur Ibrahim.

An unusual angle on the age-old coming of age story. Filled with solid performances by veteran actors Ivey and Raymond, as well as a captivating performance by newcomer Grace.

If you view life as being full of rainbows and ponies, you'll see this film as a remarkable display of courage and hope. If you wake up to reality, though, you'll see this as a depressing exercise in futility.

Contains enough magic and sincerity to cover the proverbial multitude of cinematic sins. And, better yet, for all the Irishness, it contains not a single alcoholic and not one barroom brawl!

Breathtakingly inventive story.

A frozen pile of reindeer droppings. The cinematic equivalent to passing a kidney stone, Zwigoff’s unholy foray into “dark comedy” gives us a suicidal, sociopathic drunk slinging swear words with a ferocity that would make Tony Montana wince.

With The Haunted Mansion, Eddie Murphy continues in a long line of family film stinkers.

For my money, the movie should have given us more of Macy the magical loser and less of Macy the stud muffin.

Each and every one of the movie's 125 minutes is a moment of searing truth.

Left me feeling empty inside. There’s no warmth and character from the original Dr. Seuss book, and there’s no substance or soul in the story elements.

The best they were able to manage, apparently, was a grabbag of spectral sights and spooky touches grabbed from better horror films and a final act that raises more questions than it answers.

Some of the acting may not be the best and many of the points aren't made with a soft touch, but damn, I can't think of another film about addiction with a more accurate view from the inside.

The performances are great, the chemistry between the two leads is very good, and Ron Howard again proves himself a slick hand behind the camera. But like a lot of these power-packed pictures, there’s just something missing.

Director and (uncredited) choreographer Robert Cary and his performers are simply not up to the task of recalling the great moments they are trying so hard to evoke.

The best boy’s adventure of the year.

Is Looney Tunes: Back in Action a great achievement in animation? No, but I think that's the point of the film -- that the old cartoon characters and drawings are more human than the visual miracles produced by Disney and Pixar.

Takes a look at the man’s entire life and grants us an eye-opening look inside his brain. And now that the supposed be-all-end-all documentary has been made, let’s let the guy get some f----- rest, okay?

I love a nice, quiet film. It’s so relaxing and such a nice break from the flashy multiplex fare. I love watching films that you can let just wash over you. The Hungarian film Hukkle provides that comfort, while at the same time coming up with an inventive way to tell a story.

Fascinating and heartbreaking film.

If you’re not a fan of Will Ferrell, you ain't gonna like this film. But if you think he's funny and you don't mind a sappy ending, this is a decent holiday flick.

Ultimately, when Love Actually pulls out all the stops, which it does at least three times during the final smorgasbord of climaxes, it can be well nigh irresistible.

This is a truly strange love story that definitely grew on me as it ran its course, or perhaps it was just that infectious song sinking its hooks into me.

This film is designed to turn your stomach and make you feel ashamed of your fellow man.

Initially turns the dour field of psychiatry into an amusing, absurdist romp. Unfortunately, the further the film progresses, the more it relies on silliness and triteness for ever-less frequent laughs.

Everything about the sequel feels bloated.

A gripping example of "You Are There," on the spot journalism, even if it is a little slim when it comes to motives and back stories.

Each scene is enticing, draws you in, and tackles the verbal foreplay from the book nicely.

Unfortunately, despite a couple of creepy scenes here and there, director John Hancock doesn't inspire enough interest for us to want to follow Tom on his near two-hour Hardy Boys mystery. More groans than gasps for this one.

Whilst not an A grade psychological profile by any means, Ray has still crafted a meticulously enjoyable film. It’s as gripping as it is disturbing, and as well performed as it is mysterious.

By turns chilling, depressing, yet guardedly optimistic documentary.

Radio is a film many people may be tempted to laugh off as button pushing feel-good fluff. Before doing so, they might want to ask themselves just what it is they find so funny about a little peace, love and understanding.

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.

Predictable? Yes. Corny? Sure. But Brother Bear is still good, family fun.

Given their lack of training, nearly all the young performers do a commendable job. It's the director who slips up by, among other things, dividing his cast into such predictable phyla.

Both Democrats and Republicans take it on the chin here, although the left-leaning bias is obvious.

A genuinely brilliant cast--Robin Wright Penn and Katie Holmes are especially notable--distinctive camerawork, and terrific art design all contribute to this unique blend of fantasy and reality that truly transports the viewer to a magical realm.

See the true story of Sister Helen and her band of weary men now.

Campion and company may like to think they've made something provocative, moody and new but it's really just "Looking For Mr. Goodbar" with extra nuts.

Everything that made the original Chainsaw a classic is ground into the dirt in this new version.

It’s a crisp piece of entertainment that was worth waiting for, considering that I’ve been waiting quite a long time to see this ever since reading the book.

A film to savor and to be thankful for.

A mediocre film that presents the troubled poet Sylvia Plath as a jealous, possessive and irritating woman. It is hard to recall another biopic which is so unflattering to its subject.

A gorgeous and poetic meditation on fate, honor and life in the Old West.

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

This is a decidedly hit or miss deal which, despite the current outpouring of critical praise, is destined to rank among the Coen's least memorable achievements.

Without a doubt, making the most substantial impact is Thurman. While she has proven her versatility over the years, her work as The Bride shows that her talent is matched by her fearlessness.

Here’s a would-be horror film that contains not one ounce of professional pride in its making, not one shred of technical competence. This is one of the worst films of recent times.

Would that we could extract the essence of this utterly enjoyable film and distill its creativity, intelligence and originality into a serum which we could then inject into all the tapped-out Hollywood screenwriters and directors out there.

Rude, crude, gaudy and often hilarious.

Echoes Eastwood’s previous exploration of true-life violence, “Unforgiven,” by tracing how death and depravity stain one’s life for generations, leaving seeds to take root in each branch of a tainted family tree.

An amazingly powerful piece of cinema. Actually, it's more an amazingly powerful piece of news journalism; the kind of in-depth stories told in all their complexity that such fluff American network "news" magazines as "Dateline" could only dream about telling.

A very important film that is as sad as it is uplifting. After viewing it you may just have a whole new appreciation for life.

Anyone who loves rock music will appreciate the script's insights into the form and its history.

The first half of the film is engaging enough to overshadow the missteps of the final act. It's a down and dirty look at the world of the ko gals, but it has class.

Tom McCarthy’s film is never more than small, and that’s how it should be. It is about treasuring life -– sometimes even cheating death -– and it manages to warm hearts in its own uncompromising way, rarely cheating and never belittling.

When you watch Wonderland, going back twenty years plus, you think you're in for some paleontological expedition. Yet, thanks to James Cox's considered and adept direction, a cast and script that never cheats the experience or realism of Hollywood's enigmatic underbelly -- the drama of the 1981 Wonderland murders is de-petrified.

Has more than enough charm to make it memorable. Hurt shows a gentleness and subtlety that's interesting to watch in this phase of his career.

I loved this film; from the opening “Ben-Hur” nod to the hieroglyph subtitles, it's simultaneously hilarious and poignant, with great performances.

What DeVito does that makes me consider him a master is that he is able to capture the most horrible and nasty facets of the human condition and present them on the screen with the charm and warmth of an Andy Williams holiday special.

Is he (Rock) the next big thing? After seeing The Rundown, one of the most joyfully silly genre films in recent history, he has my vote.

A charming, highly entertaining romantic adventure full of life, spectacular vistas, and sensual delight.

More "Heat" than "Eraserhead". It's all good. Just don't be disappointed if it's not what you were expecting. Try to enjoy this for what it is.

A small, no-budget, seemingly unsophisticated film that creates a minor energy miracle by fueling its running time on pure raffish charm.

The film has a lot of humor and joy in it.

Demonlover would have probably been plane insufferable without Gina Gershon. All the other actors are doing an outstanding job of playing essentially dead souls, and it's a saving grace that Assayas allowed her, at least, to have some fun.

Figgis has spent too many years crafting thoughtful, innovative films to have much of a knack for storytelling this mechanical and many are the moments when he does indeed seem to have been asleep behind the wheel.

It's a feel-good movie, but not in a bad way. It makes you feel good the way that “Forrest Gump” made you feel good, as if the filmmakers were seriously trying to make a fun, wholesome, entertaining movie without taking on the industry with a moral agenda.

There's too much pretension in this film. Lots of intense stares into the camera. Lots of uncomfortably hip clothes. Lots of pompous names for themselves.

The film has a riveting central narrative, the performances are compelling and, most of all, we need to hear more immigration stories like this.