Linklater reaches for the sky with this film, but the result is mixed.

The Grand is a fast and furious comedic attack that begs to be seen again. There’s just so much going on, it’s nearly impossible to keep up.

The picture is a wonderful example of social horror, fear of strangers who are not what they seem, worth a look for the production values well used, and the committed actors.

A dance of combat and humor saves a contrivance from drowning. Or, rather, Chan and Li elevate it enough to make it into a good time.

Yes, there is a lack of real substance throughout Simple Passion, but the sex manages to fill that void to a degree and keep the film afloat.

Each scene is enticing, draws you in, and tackles the verbal foreplay from the book nicely.

Minghella’s incredible directorial debut is a technicolor, neon-drenched fever dream. It is told with remarkable visual prowess, jaw-dropping editing, a soundtrack to die for, career-best performances from its central cast, and most importantly, heart. This is not to be missed.

Should have billed itself as a fairy tale, as that’s the only possible way to swallow what Prince-Bythewood and Kidd are feeding us.

No, this isn’t going to be for everyone, and if you didn’t like the original show, you’ll probably hate this too. For everyone else, this is the one comedy in ’02 you can’t miss.

The thriller aspect of the film acts as the payoff to audiences for having to sit through extended discussions. While it’s not the most clever or brilliant thriller, it’s exciting nonetheless and will have you on the edge of your seat to the end.

While imperfect, it does provide an intriguing glimpse into a subculture, which many people will be surprised to learn, still exists.

This has the unmistakable feel of a vanity project about it, which makes it a little tough to take either Dillon or the film seriously.

The film has a lot of humor and joy in it.

One of the most effective, intelligent, mature and romantic love stories to come across the screen recently is, of all things, a documentary.

I won't spoil the ending, but if Code 46 is to be believed, women will have it even worse in the years to come.

The photography alone would make this a worthwhile effort, but the drama that unfolds over the two years on tour is equally involving and framed by the interviews with former champions.

Do we really want to live in a world void of "Wild Man" Fischers, and all their unique forms of creative expression? Savor the fascinating, thought-provoking Derailroaded, and you be the judge.

People like Amy Grappell should be highly honored for showing those parts of the world that we do not know, despite news networks insisting otherwise.

A great effort from first time feature filmmaker Jason Matzer.

This could've easily been a giant mess, but aiding filmmaker Scott Storm in keeping his ship together is a talented ensemble cast who compliment the sharp, witty script by writer Paul Osborne. You're never too lost in trying to figure out why this poor guy is doomed and you're always entertained. Talent coming in from all sides makes Ten ‘til Noon great movie watching.

Honestly, the most shocking thing put forth in Harold and Kumar Escape from Guantanamo Bay just might be the proposition that George W. Bush is actually a pretty cool guy.

This film moves in directions that make you scratch your head more than sympathize for the character.

Aggie is a film every art center in the country should show to its supporters and community as its positive message is inspiring, aspiring, and beautiful. Aggie is a film about someone with imagination, and art requires imagination.

The final product more than overcomes its weaknesses.

Michael Z. Wechsler’s The Red Robin delivers a quality mystery; a psychological thriller hidden within the trappings of familial drama.

Some pacing issues result in a feature that feels a bit uneven, but I’d be lying if I said I wasn’t entertained throughout all the craziness.

Many have described "Journey" as a 3D film dumbed down to a theme park attraction. However, its visual splendor would have left Walt Disney weeping and Sergei Eisenstein preaching of cinema's second coming.

Most of us are aware of the “production” inherent in television news. Dumont presents to us the contradiction and spurs us on, in Brechtian fashion, to try to resolve it.