Takes us into the heart of the desperate, needy, funny, alternately glamorous and sleazy world of the international movie business.

Though I may not have connected with the final product as intended, if the idea of a psychological thriller about pregnancy appeals to you, then the movie might be your cup of tea.

For nothing but pure goofy escapism, A Foreign Affair is at least worth a fling.

This is clearly not a pleasant film to watch on many levels.

The film isn't as funny as the highly publicized conflict over the sell of its distribution rights might have you believe, but does contain a series of energized and entertaining performances that stop it from being a complete failure.

The acting is admirable and the film's hip, on-the-street feel is enticing, it's just too bad that this Irish "Goodfellas" hangs itself with a plot that's contrived and one dimensional.

Had these themes of accepting the consequences of actions, living up to one’s word, the moral weakness of youth been better capitalized on, or had a little fun been had, The Green Knight would have done a better job at earning itself a place in the storybooks.

In the end, nothing about The Interpreter strikes us as very original.

Book of Love is never quite funny enough when it needs to be.

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

Mamet loves to cast his current wives in lead roles -- Whatever you may feel about Mamet's writing, he has an uncanny knack for marrying mediocre actresses.

In the post-Columbine age, far too many cops' partners have gone un-murdered. And too many unsuspecting daughters have freely traveled abroad, unmolested by foreign fiends. Leave it to the French to give Americans what we didn't realize we were missing.

You know, each and every person reading this right now will shell out their six bucks ($9-$14 in L.A./New York) to see this film no matter what I say. Hell, I feel ambivalent about it and I'm still going to pay to see it again.

Too much thought has been put into this one to write it off as a mere, well, write-off. But it’s also too slap-dash to be labeled a classic, nowhere near on par with Peter Jackson’s original trilogy. A curiosity then, worth checking out, especially for the devoted.

The leisurely directing allows the strong characters and their quirks to remain the focus throughout Deany Bean Is Dead. Coupled with Volk’s excellent lead performance and fun flourishes, the movie is never out and out hilarious, but it is an endearing, droll watch that will put you in a good mood.

In surer hands, Shadow in the Cloud could have been a demented allegory about female empowerment; instead, it’s just demented, albeit damn entertaining. Here’s hoping Landis gets his head out of the clouds and writes something that casts lingering shadows next time.

Hale’s central performance is magnetic, the supporting cast are game, and the script, while uneven, has a few zingers that genuinely land. It’s not a film that will change the game, but it might just liven up a quiet Friday night.

This should have been a black comic masterpiece. The cast is certainly up to the task, even in the small roles.

Wordplay is...well...just about as exciting as a feature length movie about people solving crossword puzzles can be. Not very.

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

The movie's strength is in the performances. And they're enough to make Steel City worth a look.

The film does drag, particularly toward the end as the conclusion becomes increasingly obvious and too slow to arrive. For the most part, though, getting there is a wild and fascinating ride.

Victor Goodview is definitely goofy. There’s terrible ADR, a lot of weird time spent in bathrooms, too much man-butt, but it’s still got a heart of gold underneath. Which makes it fit into the Troma canon quite nicely, if you ask me.

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.

David Gordon Green’s Halloween is able to graze the brass ring that 9 other sequels and remakes have tried to touch, but it still doesn’t run home with the prize.

The Loveless is far from Bigelow or Dafoe's best work but still remains an impressive debut for both. Thanks to the deliberately subdued pace and reworking of the biker genre, The Loveless deserves to be given a second chance.

The film’s events are easy to follow enough, but the grand ideas layered beneath this world are just too out of reach for us and them.

An amusing and timely distraction.