Fails to add anything of substance to the history that it portrays.

While Hunger is a very brutal film, it also taps into human emotions and, in the end, asks what would we be willing to die for or, better, what could we truly not live without?

Although it's possible to enjoy the first act and third act carnage without paying attention to the plot mechanics, the storyline itself continuously reminds us of the fallacy of Castle’s quest.

The film does contain a couple of interesting thrills here and there. However, this film would have been better off thrown straight to DVD.

To put it in the best light possible, I recommend thinking of Four Christmases not so much as a really short movie but as a very special holiday episode of a sitcom.

A fine character study and a solid look at a specific political movement and a certain time and place.

Q: When is a vampire not a vampire? A: When it goes out in daylight, sees itself in a mirror, doesn’t drink human blood, and still manages to suck.

This is a weird little movie, and it's an interesting trip accompanying Dick Ritchie on his transformation.

With measured visual flash, Luhrmann highlights the delightful presence of his two stars and realizes an unlikely feelgood film, in spite of its grave matters.

Quantum of Solace may be explosive with images of fiery infernos, but it's convoluted and confusing, the plot playing second fiddle to its set pieces.

Two-and-a-half hours of family bickering, bantering, and pummeling can be draining for the viewer, particularly when many of the characters are easy to dislike.

We Are Wizards is a nifty look at a few small but significant slices of Potter mania that evokes interest rather than provoking disdain, not always an easy feat.

Absolutely perfect family entertainment for anyone over the age of ten. It is a celebration of not just the usual triumph of the human spirit, but a celebration of the human experience.

If "Models'" comedy is a bore, the characters' redemption is sheer agony – not to mention the shameless pop-cultural referencing that repeats like a bad taco.

Let’s not lose sight of what's really been accomplished here. Alex and Marty – just like Batman and Robin, Fred and Barney, and Snagglepuss – are welcome additions to the gay animation pantheon.

Only time will tell whether REPO! can live up to its cult potential, but the potential is most definitely there.

The film's overall result is a document of towering, devastating emotional impact.

The movie's front-loaded with puerile, junior high humor (and, admittedly, several laugh out loud moments), which is fine, but all this still followed by an increasingly awkward and clichéd third act.

My Name Is Bruce can be read as a man coming to terms with the career that he has been dealt, or it can be read as simply a trashy B-movie directed by the man who knows best.

There’s something fundamentally unconvincing and contrived about the story. Forget the fact that O’Connor hauls out every cliché in the bad cop handbook and the dialogue is more boilerplate than hard-boiled. The premise itself is just plain preposterous.

Right out of the gate, we realize that bringing the series to the big screen makes the flaws that much more obvious. The voices are too thin, the music and lyrics too simplistic, and the production values are – frankly – too "televisual."

This is easily the smallest-scale of the sequels, and it has the feeling of a massively shrunken budget.

Changeling is an almost universally impressive all-around effort, and is the best "dirty underbelly of Los Angeles" movie since "L.A. Confidential."

The best fairy tales always have so much darkness in them. That's why they resonate so deeply. This is a magnificent film.

It is a sprawling, ambitious and very long look at so many things, it's almost a miracle he was able to wrap it up in just two hours. And yet, for a film that is principally about death, the conclusion is surprisingly life-affirming, especially coming from Kaufman.

A visually exhilarating trip through the darker regions of the subconscious.

W. is the kind of film that demands discussion and only then can we start to decipher what Stone's intentions are towards our President.

Simple, it is as by-the-books formulaic as can be, and there's not a surprise around that the corner that isn't obvious immediately.