Though there's nothing especially terrible about Stateside, there's nothing terribly special about it either.

A little boring and extremely long for what it is, all that Azumi really has going for it are several eye-popping battle sequences, including the climax which is a totally delicious celebration of graphic violence, and some nice camera work.

If you're looking for Rock's trademark smart-ass wit, you'll want to look somewhere else. Likewise when it comes to a movie with something fresh to say about the balancing act that is wedded bliss.

Its ambition cannot be faulted, but I’ll Find You gets lost in its own nostalgia, ultimately drowning in mush.

The resulting product is so disjointed it's hard to tell if Russell dumbed down the film in the hope of garnering a larger audience, or if I Heart Huckabees simply isn't as smart as it likes to think it is.

This movie stunk so much you’d think that there were barking spiders in the theater.

Comes up short in many ways, but none more so than its failure to fulfill Penn's and Zaillian's desire to provide the catalyst for political sea change.

A mild but diverting farce about misperceptions involving gays and goombas.

The film's leisurely pacing is often too slow for its own good, and many scenes meander endlessly with no true payoff.

Funny and sensitive for all its faults, The Fluffer is nevertheless unlikely to break out of the gay cinema ghetto.

Will strike a chord with people having mid-life love crises. Maybe for them, this film will stand as a sign that love is out there and it will prevail. As any other type of audience goes, I don’t think they’ll find that this love works.

The only reason to watch Step Up 2 the Streets, and I mean the only reason, is Briana Evigan.

This very conventional PBS style videodoc should not be viewed before operating heavy machinery. However, there's plenty to fascinate devotees of the dance.

With its simplistic, didactic approach, the presence of a top-flight ensemble is the only thing separating John Q from your average TV movie of the week.

Isn't nearly as fresh, suspenseful or witty as it's inaugural bloodfest, but it does offer enough blood and breasts to keep Craven and Williamson in business for a few more arterial sprays.

Vice, written and directed by Adam McKay, plays straight to the cable-news generation of political enthusiasts. It’s depthless, has the attention span of a gopher, and is more concerned with appearances than getting to the root of anything.

A passive film, playing it quiet and safe, hoping that the viewer will extend some good will towards it.

A well-intended but hopelessly ill-focused documentary which wants to be the "That's Entertainment!" for the New York theater but seems like a hodgepodge of anecdotes, factoids and moldy memories.

This sounds an awful lot like "Memento." But unlike that movie, the French-Swiss-Spanish-Italian co-production Novo opts for a Eurotrash sex comedy approach instead.

As much as you'd like the characters to become better people and beat Jigsaw's game, there is also a strong desire simply to watch violent spectacle. And somehow, there just isn't enough of the latter.

Alas, the big screen also magnifies the problems with Once Upon a Time in the West. Specifically, Leone’s insistence on style trumped the need for substance. The film is basically a B-Western stretched an agonizing 165 minutes.

It may have the melody, visage and basics of a Bollywood biggie, but truth be told, The Guru, despite it’s zest and lure, gives the far-off genus a bad wrap.

If you have nothing more stimulating to do on a Friday night, Underclassman could provide the entertainment--not enlightenment--you seek.

When a film is more conducive to a scholarly dissection than a consumerist examination, the film is incredibly clever, pragmatic, or pretentious. In the case of Domino, it's all of the above.

It's funnier than "Wild Hogs," which is about as ringing an endorsement as I'm capable of these days.

With this cast, the film should have been a knockout. Instead, it feels bogged down, heavy, and way too concerned with making statements instead of just being entertaining.

Itsy Bitsy has some fantastic human moments inside its bland monster facade and is the only real reason I can recommend the film – however, for some it won’t be enough to redeem the played-out and wonky elements.

Given how much Yellen does right, it's all the more shameful that she so spectacularly sinks her film in the foot with one hugely questionable "creative" decision: adding a pair of ghosts into the mix.