The film does not know what it is, tonally changing within and between structural acts.

Though the title would have you believe you were watching a “futuristic” film involving robots, the truth is, it just feels like a cheesy soap opera or novella.

Camera style aside, the subject matter of Sagawa’s atrocious crimes are pretty fascinating. But it’s the pace and moments of complete dead silence that kills (no pun intended) the tension you would think would be obvious when making a documentary about a living cannibal.

As a guilty pleasure, it’s spectacularly entertaining

Stunning newcomer Agnes Bruckner and indie vet David Strathairn star in this oft compelling yet eventually disappointing character study of a young girl's rise out of the doldrums of adolescent life.

Packs a full plate of gasps and giggles.

This is one of those "Crash"-style pictures with interwoven narrative strands. The problem here is that most of the strands wind up little more than loose ends.

Who's responsible for this comedy proving such a disappointment- Jack Nicholson, Adam Sandler or director Peter Segal? Nope. The correct answer: screenwriter David Dorfman.

There are some genuine scares to be had here, and not just of the “Boo!” variety.

Sisto certainly has an eye for the story he’s trying to tell, and there are moments throughout John and the Hole, which show he has what it takes to be an interesting filmmaker. [But his] visual flair would have been better served with a stronger story.

There’s nothing offensively awful about Ms. White Light, but it lacks a unique perspective.

A 'so-so' movie. It's not particularly good, but it's competent and more or less successful in its goals.

Isn’t exactly dull, but it isn’t scary either.

Liberté is shocking, but it is staged as banally as possible.

As it stands, it’s not much of an indictment. As honorable as her intentions may be, Bibeau ends up blowing the whistle so incessantly, it sort of leaves you deaf.

Borgli’s feature is just another somewhat edgy movie that has nothing to say.

The biggest problem with the movie is that it fails to explain the complicated theories and formulas in a way that makes sense.

The saccharine conclusion would be problematic in any film, but given how much talent is involved, it's especially disappointing here.

Technically impressive horror film and sometimes fun to watch, but totally undistinguished.

Sure, the dialogue is absolutely atrocious, the acting sucks, Eric Roberts is a co-star, the action is lame and the fighting is boring. But all of this makes for one hilarious viewing experience. DOA is the sort of film you’ll want to watch with a drunken crowd of your friends.

One of the oddest and surely the longest cinematic experiences you may ever encounter.

The two actors are bound to be showered with awards, as is the production design, the polished script, etc. But there’s no intrigue, no real substance beneath all the gloss.

Coupled with decent acting but average cinematography and editing, Not Easily Broken hums more fittingly to the tune of a LifeTime television event.

The film is challenging and consistently interesting, but also trite and overbearing to the extent that it damages its message.

Knights of the Zodiac is a good production in terms of its action and cast. But when one focuses so much on the fantasy-action set-pieces, having a soulless story makes all efforts fall flat.

If you were expecting a small art film, you know you're in trouble when the first thing you see is Jim Carrey.

For all the effort Giamatti gives in making George a convincing character, the movie itself, never quite gets off the ground. The feel is too deliberately peculiar, and Goldberger's detached style never gives us a reason to invest ourselves in anyone but George.

While the Raymond Burr sequences and the subsequent clumsy English dubbing of the remaining Japanese footage made the U.S. version an unintentionally funny movie, the complete Japanese version is an unfunny bore.