Just one of those films, a bottomless well of snark fodder that may come and go in theatres but will surely be spun innumerable times on DVD at parties in the years to come.

Too much of Alex & Emma is an overt attempt to recreate the lightning in a bottle Reiner achieved with “When Harry Met Sally.”

Folks read comics for enjoyment, not to admire how well the pictures are drawn, and the same axiom can be directed here with audiences likely to admire the work that’s gone into this film -- rather than joyously enjoying the film itself.

So now that I’ve seen one of “the master’s” films, I still can’t tell you what the appeal is. Pistol Opera is unique for sure, it just never made me want to follow it down its strange path.

Jesus Nebot pulls off the impossible task of not only being the writer, director, producer, and star of the film No Turning Back, but makes it all work into a satisfying and socially conscious film as well.

Sure, Dumb and Dumberer is dumb, dumber and dumberer than the original, but if you like that kind of banal, rustic and sophomoric humor (and I have to admit, I kinda do), it might be worth a buck or two at a discount theater.

Yup, Hollywood Homicide”rips off practically every cop movie out there. My god in heaven, did anyone making this film have an original thought in their lives?

With Manito's raw portrayal of its characters and stripped-down cinematography, the undercurrent of impending tragedy is palpable.

Not that there isn't a story at work here; there indeed is, but only just enough to sustain the action.

This Brazilian thriller blows a heck of a lot of hot air, but really doesn’t deliver on the ass-kickings it so threatens.

Proof that an old genre can still have life as long as filmmakers are willing to fill it with energy, humor and respect for the genre. Add cannibals and beautiful teenagers and you’ve got an entertaining horror film.

Heist movies seem pretty quaint and analog in our era where high stakes crime is primarily electronic in nature. But until someone can make embezzlement cinematically interesting, we’re left with theft and this movie just gets away with it.

After four Pixar features under their belts, it is painfully easy to see the clichés emerging.

Long before you buy your ticket to the new Jim Carrey film, you've already been doomed to disappointment. Several parties play a role in this. Interestingly, Jim Carrey isn't one of them.

As a whole, the film is perhaps a bit too gentle and meandering, but it's jammed full of superb moments.

Loaded with tons of personal stories told by both Johns (the two main members of They Might Be Giants) as well as people within the music industry.

Takashi knows how to make a great, sleazy Yakuza film, but what I’m missing here is that sense of something brand new.

What may have seemed energetic and innovative four decades ago is fairly enervated today, and only the most rabid Godard fanatics will find reason to seek out its new theatrical re-release.

Even the most learned moviegoer won't see where this story is going, and that's part of its charm. The characters have a depth to them that is rarely seen these days.

A mild but diverting farce about misperceptions involving gays and goombas.

A fun time and a must-see.

Not unlike its predecessor -– might be hard to swallow, but it’s so delicious you just can’t help but want more. Not unlike one of those gobstoppers you can find in any candy store -- Hard to chew, nice to endure, if you will.

A powerful no-frills drama. It's a film that never flinches from its colorful, if sometimes cruel namesake neighborhood and the people who populate it.

This film has so many chances to spice up the screen....and passes, I was wondering if I were watching an info-mercial for some kind of "K-Tel Classics- Revisted" album.

Down With Love has little to offer besides hip sixties references better films have already made and made infinitely more hip.

So well is this film made, written and acted that you’d have to be a pretty big hard ass not to get pulled into the hilarious and even touching exploits of Alan and Tommy as their lives take the most unpredictable of turns. Try it, you’ll like it!

For those who find that most “life-affirming’ films leave them nauseous and sometimes angry, Man on the Train is a miracle of genuine uplift working with two characters probably fated to die.

The cast is top-notch and I predict there will be plenty of female audience members drooling over Michael Idemoto as Michael.

Humorous yet subtle characters aid Malkovich in creating a film that is engaging and entertaining, while at the same time lumbering during long stretches.

Takes a relatively easy route by bestowing happy endings on the principals, but at least it’s savvy enough to realize that showbiz isn’t all there is to life.

What the movie needs more than anything is a script. The story is very disappointing and near the end, things start to get weirder and weirder.

Classic adolescent coming-of-age tale.

Stunning newcomer Agnes Bruckner and indie vet David Strathairn star in this oft compelling yet eventually disappointing character study of a young girl's rise out of the doldrums of adolescent life.

Draws an unspoken parallel with, of all things, beauty pageants, complete with unnaturally driven kids and nervously supportive parents desperately trying not to appear too pushy.

Approaches the serial killer archetype in a tremendously unique way. It turns the old stand-bys on their ears and gives a fresh perspective on the genre.

There are enough twists and turns in the plot, with an underlying “Trust No One” theme to keep the audience guessing. Maybe not all the way to the end, but pretty darn close.

A painfully awful film.

The only complaint is that the plot ultimately tries to take over the character drama with twists, turns and some rather pointed preachiness. But at least it's fiercely smart about it. And Algrant's final shot is gorgeous.

An unusual tale about an often over-glorified era from our past, The Scoundrel's Wife exposes wartime America's sordid small town underbelly in a captivating, even entertaining manner.

As always, Don Cheadle is fantastic, but the film belongs to Joseph Gordon-Levitt.

This has the unmistakable feel of a vanity project about it, which makes it a little tough to take either Dillon or the film seriously.

It is films like this that make me think that if Mexico suddenly went to war with a superpower, and the Cancun area was nuked into oblivion during a spring break weekend, that the world might actually be a better place.

Amazingly realistic and engaging drama about society punctuated with both humor and grittiness.

Overall, there is a lot of flip-flopping between stories, sometimes jumping back and forth more frantically than an episode of "Seinfeld."

The score is appropriately ethereal. From the Paris skyline to the Great Wall of China, the film's locales on every continent are rarely less than breathtaking. Calling the camerawork stunning, of course, is an understatement.

It’s a film that walks a fine-line between serious superhero flick and slapstick, giving the audience a conglomerate of great martial arts moments intertwined with some very funny dialogue and impetus.

Beautifully produced but emotionally vacant drama.

There are no sacred cows in A Mighty Wind. Even beloved public television is skewered by Guest and Co. In a lot of ways, this movie pokes the most fun at the average PBS liberal who refuses to let go of the 1960s.

The film wants to be a revealing character study of aimless Hollywood wannabes, but the story is just not compelling enough to make the viewer care.

As with many films nowadays, the supporting cast actually shines more than the principles.

It may appear clichéd in the telling, but Chick has no use for the glib irony and rampant pop-culture sampling which has already dated "Reality Bites" and its ilk.

A rare high school dramedy with some heft to it. Smartly photographed and edited, it manages to walk the difficult tightrope strung between the typically loopy coming of age film and a simmering disaster in the making.

Part of what makes this film a must-see for Titanic fans is that it truly puts you closer to the wreckage than anyone else can get.

Rips off so many splatter movie tricks at once that it becomes totally frustrating.

It is clear from the film's onset that Griffin is striking a chord with his audience: They love him and, in return, he relishes their laughter.

The performances from the film's three stars are all top-notch.

Good news is that most of the marvelous English dialogue cast from the Cowboy Bebop series has returned for the film. The bad news is that the heart and soul of the series hasn’t.

This is a very simple story, but it builds beautifully to an endearing and witty romance.

While this is far from an avant-garde, ingenious flick, it uses a dependable formula that’ll definitely deliver.

It spends little time on exposition, instead quickly getting into the thrust of the movie. For a film like this, it’s advantageous, grabbing the audience almost immediately after the opening credits.

Diesel is good in the movie. He gets to dance, cry, romanticise…things we’ve rarely see him do in other movies. There are actually hints of a real actor there.

Nolte looks like a man with one foot in the grave and nothing to lose. He single-handedly rescues this caper flick from its own mediocre storyline.

Decent in its special effects and has the advantage of having Hilary Swank and Aaron Eckhart in it.

With its clumsy storytelling and lack of someone to filter Duvall's gushiness about the subject matter, Assassination Tango winds up shooting itself in its own dancing feet.

Travolta’s performance in Basic is irritatingly familiar to his overacted, spastic performance in "The General’s Daughter." Either that, or he’s channeling Nicholas Cage from “Face Off” again.

After all is said and done, it seems like the jokes during the end credits are the tow truck of the movie, the engine quitting after the halfway point.

Even with its over-the-top performances, Gaudi Afternoon is an emotionally and intellectually subtle work.

Clearly a love letter to Paltrow, offering her plenty of moments to show off, but her acting is often flat and the self-adoration of the movie is almost too much to handle.

Much of Dreamcatcher just doesn’t make sense.

On the whole this is pretty standard shoot-‘em-up fare. Bang, crash, boom -- yawn.

Similar to one of those smutty 80s comedies, Boat Trip is a Farrelly brothers like gross-out with a homophobic entwine.

It's in the characters that the film works beautifully, right up to the clever and tender final sequence.

One thing that separates undie from indie is bad acting. Bring it on! There are some stinky performances here, and stinky moments in the script. Great! If it don't stink it ain't punk rock. I'd rather dig the tunes and remember deadpan deliveries.

I'm sure the filmmaker would disagree, but, honestly, I don't see the point. It's a visual Rorschach test and I must have failed.

Highly entertaining film.

Willard doesn’t try to be great art (although if you really think about it, there are plenty of themes borrowed from “Hamlet,” “The Birds” and “Frankenstein” to name a few). Willard just is.

Fast-paced, at times even a bit frantic, Under the Skin of the City is above all a mother-and-son story.

The bottom line is the movie's a mess. Friedkin would like one to believe there's more than meets the eye to his tale of two trackers.

While this film offers plenty of laughs and a cool soundtrack, it also tiptoes around complex subjects of social change and inter-racial relations.

Fans of prison flicks would do better to catch the HBO series "Oz" or the five millionth rebroadcast of "The Shawshank Redemption."

Aside from a few routine battle scenes, the movie's action consists mostly of people slogging slowly through non-stop rain. This is not interesting, much less exciting. The dialogue is hokey hero blather.

The movie gives us lovingly shot landscapes, portraits of extraordinary friendships, a great score, dialogue that only occasionally slips into history lessons, a number of memorably etched minor characters, a splendid performance by its youngest star and two mysteries.

Rife with predictability and lacking any originality whatsoever, the lackluster Laurel Canyon demonstrates about as much depth as one of Ian's pop songs.

Hits an edginess that will keep today’s audiences laughing.

Let me set the record straight: Gaspar Noé is the real deal. Is he excessive? Yes. Manipulative? Sure. Pretentious? Absolutely. But, he’s also one of the most exciting filmmakers on the planet.

The biggest strength of Cradle 2 the Grave is that it doesn’t take itself too seriously.

About as funny as a funeral.

It’s shocking how much Dark Blue hates cops.

The love story that is supposed to drive the film fails to ignite a single spark--and, hence, the film fails to generate a single iota of interest from the viewer.

Will Ferrell is a fearless comedian, and he commits completely to his insanity in the film, and that makes it work.

The film doesn't have anything but bad news for Spacey fans anxious for the actor to break a stinky streak.

This is nothing but an attempt to cash in on the success of “Gettysburg.”

Brimming with sincere intentions and a few interesting thoughts. It brings a rare sort of realism to the movie world.

Aspires to a backwoods North Carolina Woody Allen quality that it often comes close to achieving. But sadly it’s just never quite funny, touching or insightful enough.

For the most part, Gerry is a lot of self-indulgent baloney.

Scene after scene blends masterfully with the work of Ohwon’s paint brush, and the power of images and symbols reveal not only a great artist, but also a pivotal era in Korean history.

If you manage to sit through the whole film, don’t leave before the humorous tag in the credits.

Takes a while to get rolling, but builds fairly well once it finally does. Part of the problem, no doubt, is Shokrina's decision to have the dialogue rapidly alternate between English and (presumably) Persian, with subtitles. This is a highly disorienting distraction.