Seriously, that kid is creepy as hell.

Has more heart up on the screen than any film I’ve seen in recent years. I mean, we’re talking sappy, sweet, heart wrenching sentimentality.

About the only thing suicidal in this lethargic crime drama is the convoluted script that wastes two fine performances by Christopher Walken and Denis Leary.

As 9 Songs played out for sixty-nine (count ‘em!) minutes, I started to find myself wishing they would just end the interminable, deliberately underlit, sex scenes and get back to those really hot pics of Antarctica.

This is exactly the kind of movie that improves on subsequent viewings, allowing you to enjoy it more once you accept the narrative on its own terms.

There are enough laughs here to fill a five-minute skit but sadly, the film lasts a lot longer than that.

Chariot may not blow anyone away with its inventiveness, but it’s right at home in the family of darkly funny science fiction films that are enjoyable to watch late at night. Full of bizarre performances and a fair share of laughs, this is more than worth a look for those seeking an unorthodox treat.

Never too dreary, Sherman's Way is a pleasant drama-comedy that's just fun to watch, much like a laid-back drive during the summer; it's not about where you're going, or how you'll get there, but just about how it feels to be in the car driving.

Pallenberg’s creaky slasher film is one that you’ll either love or hate, and while many will opt for the latter, it’s good campy fun with some of the dumbest scenes you can grab from a slasher of this decade.

All crass in its empty bluster and bogus uplift.

Whatever distinguished "Riding in Cars with Boys" the book certainly doesn't show up in the movie.

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.

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.

It's good then that From Other Worlds doesn't strive for masses of people either looking at the alien spaceships before their demises or working to understand the communications being sent to them. Sometimes it's enough to just have two people there to meet them. Two people are enough for the entire world and that's what makes this a novel experience.

It does get a little sappy without a hint of darkness at all. By the end, every plotline is wrapped up nicely with a pretty bow.

About the only thing that is lucid, in the malestrom of wham-bam effects, is the set-up for a sequel.

The film is truly gorgeous and interesting for fans of literature.

What, a white woman can’t take an innocent drive through the ghetto without arousing suspicion? What’s this world coming to?

We are here for the gore – which this film has plenty of. Too bad it doesn't have much else.

Daisy Edgar-Jones is the star here and gives an incredibly endearing performance.

An emotional picture that benefits from the extremely powerful performances of its stars.

Stevan Mena nonetheless is adept at creating images that disturb and disgust on levels most horror filmmakers can only dream of.

Is love a disease, as Marquez possibly wanted us to believe? Maybe, but in the case of this adaptation, it’s more of a laughing sickness.

Unfortunately, I have to admit that the tenor of the movie is almost unbearably cheesy and sometimes verges on infomercial territory.

Beautiful and atmospheric but essentially empty and pointless, Berlin Alexanderplatz hits you with the bluntness of a sledgehammer.

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.

Works because it pays tribute to these characters. I knew that American Wedding couldn’t be as funny as "American Pie 2" just as that film wasn’t as funny as "American Pie."

A gripping tale of survival and the kind of smart thriller that will gain much-deserved attention for both director Stolhand and actor/writer Uygar Aktan. Simply a stunning piece of filmmaking.