What's more refreshing about Severance is how the movie's humor offsets the violence, and even that is pretty restrained (at least by modern standards).

With its emphasis on dialogue and political machinations over explosions and kung fu fighting, it remains to be see whether or not V for Vendetta will actually find one (a wider audience).

Once “Spiderwick” gets to the fantasy, the story gets going.

Congratulations to Robb Moss for making such a crowd-pleaser. But more importantly, congratulations to Moss for having such interesting friends.

I can't condemn it outright, but damned if I can remember anything (aside from Izzard's performance) that would make me recommend it.

Lee is beautiful, daring, and elusive, as all great art should be. It’s a fitting tribute to a woman whose work exhibited the same qualities.

Nothing really works on any level above mediocrity.

Sigourney gets some good "Rambo" lines, but about halfway through the film her alien super powers go dormant.

Features an excellent cast all of whom shine. Affleck as Reeves has never seemed more charming and Brody’s Louis Simo is pretty much a scumbag who still manages to gain our empathy.

It is well worth sticking your face into Hell Hole, as there is a prize inside the box of wood chips.

Call Jane is dripping with amazing actors giving solid performances, but only Banks is given a chance at Oscar bait. Weaver’s Virginia is a sagacious activist with long hair, always reminding the group to keep the goal in mind, but we are cheated of heavier moments with her. What is here is wonderful, but it could have used a few moments of gravity.

It did a great job of giving chills and making me jump. It may not be the most original film out there, but which ones out there today are completely original anyways?

The fun of Sigourney Weaver in directors Wallace Wolodarsky and Maya Forbes’ feature, The Good House, is watching a master actor create an everyday character so believable that she could literally walk into a room and pass as one of us. By the way, everything I said about Weaver equally applies to her co-star Kevin Kline as well.

Quentin actually made a REAL movie, with believable characters and performances, rather than just repositories for clever dialog.

The final result becomes a search not for a knight in shining armor, but one of acceptance for one's own identity.

Gillan is always a powerhouse, and the set-up of her in a Battle Royale rumble is enticing. Still, the actor is required to maintain a monotone delivery from which only the slightest emotions escape.

Jesus Camp works nicely as a time-capsule document confirming the impact -- and popularity -- of American evangelism.

Imagine a blend of "The Wizard of Oz," "Beetlejuice" and "Roadside Prophets" and you'll know exactly what Wristcutters is like.

Mr. Toilet: The World’s # 2 Man is an informative and fun documentary. I know that it sounds like an odd choice of words, given its subject matter, but it really is something special.