Despite some fictionalization, it is a brutally honest take on the deep-rooted, orthodoxical ideals and their fatal outcomes.

Perhaps the key to understanding where Steamboy goes wrong is in understanding why Otomo's previous animated feature "Akira" was such a success.

It has to be said that the best thing about The Report is Adam Driver and Annette Benning.

Paul Solet’s Tread takes a little while to grab the audience; however, once the stakes are fully understood, it becomes quite intense. Plus, the way it plays with audience sympathy is genius, making for an involving watch.

While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated and, more than anything, it’s okay to deeply love something that most other people loathe.

Bronco Billy is an odd salute to those clean hearted good guy cowboys like Gene Autry and Roy Rogers, and Clint manages to revel in the glory of that myth despite the fact that he is probably more responsible for making that kind of Western unworkable in modern cinema than anyone else I can think of.

It elicits so many laughs, in fact, that you have to wonder just what Judge did to piss off the suits at Fox so much that they would willingly torpedo one of the only genuinely hilarious movies to come out this year.

It’s not a perfect film, but it’s definitely the Soder-side I prefer.

Joe Cornish has pulled off a fantastic feat- a children’s fantasy adventure that balances the drama, action, and humor perfectly and will keep an audience of any age entertained through its entire runtime.

Diggers isn't a bad film, but the underlying premise - the longing one feels to escape from a dead-end, small town life - has been so beaten to death in the movies that no amount of accurate 70s design or subtlety in the performances can hide the fact.

While this film offers plenty of laughs and a cool soundtrack, it also tiptoes around complex subjects of social change and inter-racial relations.

All squeamishness aside, this just isn’t a very pleasant film in general. There’s not a single sympathetic character in the bunch, except for maybe Hyun-nam and she’s a lazy bore. Everyone else is just plain, well, mean. For all the brilliance in some of its action scenes, this sluggish flick feels like a stretched out graduate thesis film.

When all is said and done and you get the full explanation of what meant what and who did what to whom, it's not fulfilling at all. It's a magic trick that's all showmanship and craft, but lacking true whimsy, ultimately failing the audience.

A loopy plot trail leads us to Ferrara’s attempt at creating a cult psycho. His lack of commitment to his creation, haphazard and impulsive as Reno’s first plunge into a victim, suggests that the filmmaker was distracted by his own future aspirations.

I Get Knocked Down is lively and fun. It examines one of the odder songs to become a phenomenon with humor and surprising profundity. Plus, afterwards, you’ll have one helluva song stuck in your head.

If there was ever a film that screamed Best Actress Oscar-bait, it’s Judy. But damn, Renée Zellweger is absolutely fantastic in this role, and absolutely deserves Best Actress honors. Yes, I know the year’s not over yet, but the bar is set high.

At the risk of being hyperbolic, Good Luck, Have Fun, Don’t Die is a great movie. It offers laughs, thrills, and it’s a thinker; you will not be disappointed.

Wonka is fluffy, loud, colorful, and goofy. King is not looking to expand on the literary legacy of Roald Dahl; it’s not that serious.

The Bogarin siblings use many methods of storytelling to tell us the tale of their family, creating an atmosphere in 306 Hollywood that is Errol Morris-meets-Wes Andersen. It’s a beautiful documentary filled with magical realism and most importantly the heart and soul of their grandmother.

A warm heart beats subliminally throughout the narrative, a tinge of hope that may be gasping for air but remains vibrant, especially when juxtaposed against the disheveled, rotten backdrop.

Elegy's last act is a mournful smorgasbord of bathos in which major and supporting characters alike drop like flies. The body count is practically Shakespearean. The same, regrettably, can't be said for Coixet's touch when it comes to tragedy.

Wise and respectful of its audience, "Cloudy" thus never stops the fun.

The film as a whole is vaguely entertaining but due to the unsympathetic nature of the lead character, it's hard to emotionally invest in the film beyond that feeling of watching yet another Jerry Springer-friendly family adventure. It’s simply unexceptional.

Hurt and Sewell are both quite believable as their respective characters, while Sutherland's performance is lacking in more than a few catagories.

Delivers on the action front, laughs, and some great visual splendor. The only real problem with this film is the running time.

In 30 years’ time it might seem as incisive a document of its time as, say, “Don’t Look Back” or “Gimme Shelter.” As a study of how the current corporate idiocy impacts one man’s art, it’s priceless.

Obviously the director has her point of view on the subject and the film is thusly slanted, but this bias, while good for the cause, may not be best suited for thorough documentary filmmaking.

Monotonous. For while it offers a few precious laughs, Talladega Nights simply apes the look and feel of most recent Ferrell movies.