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 film does contain a couple of interesting thrills here and there. However, this film would have been better off thrown straight to DVD.

In a Relationship doesn’t break any new ground and Boyd understands that. Instead of attempting to reinvent the wheel, he focuses on his character’s flaws and insecurities offering biting one-liners and honest moments that elevate In a Relationship to a bit above the norm.

McGowan’s film isn’t just about following this boy’s private quest to accomplish the impossible. It is also about how he affects the other characters in the film.

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 film’s absurdly strong performances, music, and aesthetics all bring to life a wonderful film you won’t want to miss.

Nightride promises to take you on a ride, which it does; a bumpy one, filled with detours and ennui-inducing stretches.

The Man Who Killed Hitler and then the Bigfoot isn’t the loony chuckle-fest that many might want and it’s not as affecting a character piece as Krzykowski might want, but it’s a crackpot showcase for a performer who deserves one or two, crackpot or otherwise.

Summer Storm is director/co-writer Marco Kreuzpaintner's entry into the "I'm not gay but my boyfriend is" genre.

Better Off Dead is the kind of movie that people won’t really fess up to liking, but I’ve rarely met anyone who didn’t secretly love it passionately.

The Vandevere plot effectively turns the film from a cute animated story of talking animals into a thriller with corporate intrigue.

You might see Lost Transmissions just for Simon Pegg, but you’ll come away with a deeper sense of what schizophrenia is. You just might become more compassionate about people whose mental illness keeps them on the streets. And you’ll get to see a great debut feature whose nuance will keep you thinking about it for days.

Rowan Atkinson's spy spoof is wildly uneven and yet, at times, nothing less than wildly entertaining.

As a guilty pleasure, it’s spectacularly entertaining

The problem with the film is although we walk away from the theater with a good feeling inside, the film lacks an edge…particularly a dark one. Everyone in the movie is good, wholesome people. No one’s really the villain. Bernadette’s problem is not all that surprising.

Operation Fortune is an action movie. So, how are the fisticuffs and shootouts? They couldn’t be any blander. Yes, there is a lot of action, but I don’t remember anything cool until the end. It’s your standard gunplay, hand-to-hand combat, and car and motorcycle chases.

If a movie like My Bloody Valentine plays like a dime-store slasher picture, then adding 3D to the proceedings will only make it look like a 3D dime-store slasher picture.

To be sure, it's a very pretty, well acted production; however, that doesn't make up for the fact that I hated every minute of it.

Theaters showing Mad Cowgirl should install seatbelts, because audiences are in for the ultimate wild ride.

It’s a heartwarming tale about finding life after loss and finding the good in others. Unfortunately, like a Hallmark film, it’s wrapped up in a lot of schmaltz.

Like all of his previous films, it's visually arresting - if any recent film embodies the concept of cinema as poetry, this it it - but unlike "Pi" or "Requiem for a Dream," these aren't characters we're ever invested in.

Wounds is a visceral, disturbing descent into the destruction of a man that hits all of the conventional horror notes with sadistic joy taking viewers on a ride straight to hell.

Ultimately, it’s a heartfelt coming-of-age tale that honors the past while forging a path forward.

Izzy Gets The F*ck Across Town is as delightfully offbeat as the title suggests, with an engaging and heartfelt story. Smartly written with stellar acting and deft direction, this hilarious movie demands to be seen as soon as possible.

The drawback here is that, although it doesn’t need a deep story, it feels like only two and a half acts, with an abrupt third act.

The guys in Ishtar are the boring wallflowers of the world. They probably shouldn't be mocked, disgraced and beaten, but who really wants to spend close to two hours with them.

I Think We’re Alone Now is an exercise in ambiance, and Morano is nothing if not a brilliant conductor of tone. Favoring dreamy over dreary, the movie is a handsome and often mesmerizing addition to Morano’s expanding oeuvre.

As a celebration, the documentary is an uplifting and joyous experience filled with amusing stories and engaging anecdotes.