The dream-like, poetic result is an astonishing visual achievement, an example of what an artist lacking a Hollywood budget can conjure with sheer ingenuity. That said, some may find its impenetrable narrative and purposefully distancing nature irritating. There’s only so long one can stare at an abstract painting.

Quantum of Solace may be explosive with images of fiery infernos, but it's convoluted and confusing, the plot playing second fiddle to its set pieces.

Could have been both a gripping courtroom drama and a chilling "is she or isn’t she?" horror tale. What we have instead is a movie that drifts, almost unmanned, from plot point to plot point.

There are flashes of honest insight lurking under the film's rough, uneven surface.

Call this “Film meh” instead of Film Noir. The only way it could be more pretentious is if it was in black and white. These characters are so unlikeable, you may find yourself hoping Margaret and Henry both get the shit kicked out of them for their arrogance and stupidity.

Stop-Loss is a bit uneven. Mixed messages abound.

Rich with compelling, often heartbreaking stories.

Succeeds at pushing the technology as well as and offering intelligent family fare that won't leave adults bored. Great fun.

It's hardly a foreign film; this is our common history, and it's a film well worth looking out for.

The film feels flat. I don't know how to express my criticism much more than to say that things unfold before you, but you never really engage in the world beyond just watching it.

For a while, the film’s elegant art-horror vibe is quite compelling, leaving the ancient secret societies and demonic entities that it hints at tantalizingly off-screen and just out of Rose’s grasp. Unfortunately, though, the film begins to stumble late in its second act, its well set-up mystery devolving into a contrived sort of video-game logic.

Instead of being the science fiction masterpiece Matheson fans have been salivating for since the 80s (when Schwarzenegger was once attached), it’s just another average Hollywood popcorn flick.

Despite Arterton’s outstanding performance, the film weakens considerably in its last section.

Those who seek their sci-fi with a more cerebral slant will find quite a bit to admire here. The film certainly demonstrates a cast and crew who are dedicated to their craft and provide anticipation for future endeavors in which they continue to polish it.

The mundane is only as mundane as you make it, and the supernatural can be painfully mundane.

Diaz wears his heart on his sleeve and elicits affecting performances from his cast, but his portrait of a country in turmoil feels incomplete.

The immense length and repetitive format can sometimes make the film feel like an endurance test. To say that its pacing is glacial would be unfair to the melting ice caps.

A harmless little charmer with a uniformly fine cast, played by the numbers for full tear-jerking effect.

The movie slides into slapstick at times, but it never overpowers the story.

It’s more than adequate as an old school action movie slightly updated for modern audiences.

Winds up being enjoyable, even though the only character I really liked was the main one, played by David Paymer. Everyone else I wanted to whack in the ass with a tire iron.

One of the funniest things I have ever seen was Dustin Hoffman weeping uncontrollably as he recounted how he never truly understood the inner pain and torment of what it felt like to be an ugly woman until he made “Tootsie.” I wouldn’t trade that thirty seconds for the entire film. Tootsie is funny enough and Hoffman truly does make an scary awe inspiring wreck of a woman, but people would have you believe this film was the Rosetta Stone of comedy, whereas it’s really just an ok film dominated by television actors and desperately lucky to have caught Bill Murray on a free afternoon.

The New Bauhaus tells a fascinating story, as Moholy-Nagy’s art and life are worthy of being told. But, Nahmias tells it in a largely pedestrian fashion.

Granted, you'e going to enjoy it a lot more if you spent a healthy chunk of your late teens/early 20s playing Bullshit and doing keg stands, but it's far from the worst comedy of the year.

The human stories are at the center, but, for better or worse, they are surrounded with side stories that only acted as a (nice) distraction, and it never really digs deep into the concept of heresy itself.

The film does enough to get you through to the end of the film but lacks the feel-good moments as well as the impactful dialogue that could have made this film an instant classic. Despite this, the story is very inspiring and that should be enough to make you want to give the film a watch.

This is by the books in every way, funny and undemanding ... and also rather sweet and heartwarming.

Bruno Dumont’s Flanders is something you don't see everyday: a decidedly non-sentimental love story.