Botko and Gurland's bleak and caustic comedy gets off to a slow start and struggles to overcome the handicap of having three main characters who are, by design, highly unpleasant individuals.

Well-acted and skillfully made, the film offers enough that is worth seeing, but its idiosyncratic nature is sure to limit its mainstream appeal.

While the massacre is a wall-shaking and effective bit of high decibel drama, some of the movie's best moments come during the Texans' long brave wait for almost certain death.

The real problem with the film is tone and pace.

What separates Adventureland from something like "Garden State" is a commitment to realism and plausibility. In fact, at times, it is almost too realistic given the location's inherent value as a comic prop. For a film set primarily in an amusement park, it isn't terribly amusing.

A lot better than one would expect. It's amusing, it's inspired and hey, it's a lot wittier than the last two "Scary Movies" combined. Though, like most lampoons, it runs out of steam about half way through.

It is Fey’s refusal to talk down to her audience that elevates Mean Girls above most other teen movies out there.

For the most part, Esther is an entertaining and solid addition to the Evil Child canon. There may be something wrong with Esther, but there's nothing terribly wrong with Orphan.

It’s definitely a well-crafted genre offering. The writing could be better, with more of an emphasis on the relationships than on the plot mechanisms, but the ending is cool. The cast is also very good, but again, if the script were just a tad bit better, the film would get a better rating from me.

The biggest problem with I Will Make You Mine is that the stakes are so low, it is impossible to become entirely invested.

It's an excellent date film, but it won't change your life.

This is a competently made film, with some wonderfully subdued camera work and very effective editing. 6ixtynin9 is a fun little film.

It won’t necessarily blow your mind, but it’s refreshing to have a gentle, hopeful ode to our oceans, in contrast to all the “doom and gloom” environmental docs that come out these days.

An ambitious, smartly edited documentary epic by a pair of journalists who tenaciously followed their subjects over the course of seven years, the film is both intimate and sweeping.

Peretz's film continuously subverts the audience's expectations of what should likely happen given genre conventions.

It rebounds in the last moments and I thought successfully blended satire, high camp and yet another sexual taboo into a really funny movie.

Hey, it's not "Gone With the Wind" or even "Nightmare on Elm Street", so don't expect a masterpiece. You get a little nudity, a lot of gore, Seth Green doing his ironic commentary thing, and an easy way to kill a couple of hours.

Overall, I have to recommend the film for its alternate take on the whole "Leaving Las Vegas," "Basketball Diaries," "Less Than Zero" drug-induced tragedy genre.

Because much of the dialogue exchanged between the brothers and some of Kyle’s auditory flashbacks allude to situations that aren’t clarified until over sixty minutes of the film have passed, there’s strong motivation to pay attention.

I have always been of the belief that the best way to get things done would be to have some benevolent dictator running things. The problem is always finding the right sage magician for the job. Harry Callahan probably wouldn’t be my first choice, but he sure is entertaining when he shoots people.

If this is the direction Williams is headed in his career, fantastic. For auteur Romanek, it was at least a good first try.

The problem is, the main conspiracy of the show is so vast, you have to walk around it a couple of times before you can see what it is.

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

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

Like Ed Wood with a decent budget and a vision impaired by mind-expanding drugs, Christmas on Mars is about just that.

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

Takes an unexpected turn towards originality where every other "David vs. Goliath-courtroom drama" only strives.

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