The only criticism that seems to merit any real discussion is whether directors Robert Rodriguez and Quentin Tarantino actually did make real grindhouse-style fare. To whit, I can easily say: yes, they not only made two on-point grindhouse films, they did them to painful perfection.

Full speed ahead fun, a rollicking caper romp that hearkens back to a quainter, pre-Ken Lay age when bigtime fraud could actually entail writing books as opposed to merely cooking them.

Despite being a little cliché, Ping Pong is a hell of a lot of fun.

The one lesson learned from watching this film is that Canadians can make movies just as badly as anyone else.

The Reaping isn't a total failure. Swank is never less than competent.

Carice van Houten as Rachel/Ellis is as captivating as any screen siren working today.

It's funnier than "Wild Hogs," which is about as ringing an endorsement as I'm capable of these days.

It is worthy of your time, simply because of the brilliant acting and the first and final acts but... the middle of the film feels like an endurance challenge.

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.

There isn't really an overall arc present in Killer of Sheep, and that's the point. There's really nothing meant to be expressed in Killer of Sheep but the experience of poverty, and the inevitability of crime in the face of poverty.

Live Free or Die is a low-fi farce that technically works. But in the end it feels like a pale version of say "Raising Arizona" or even "After Hours."

You want uncomfortable tales of love and woe, then Race You to the Bottom has what you're looking for. And if you believe love is a disease that is meant to send people to screaming, burning hell, then you'll have a laugh riot, a real knee slapper, like 1,000 fart jokes heard all at once.

If the state government in Massachusetts refuses to acknowledge its execution of innocent men, then at least this compelling and powerful production can serve as a graceful elegy to the doomed men who were murdered by their adopted homeland.

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.

This horror fanatic doesn't have room for Craven in his genre anymore. Collect your cash and call it a day already, Wes.

Has some nice touches. Cheadle is capable as always, and Paula Newsome kills as his acerbic receptionist.

I expected to see the triumphant return of my childhood favorites, yet I feel like this wasn't the answer.

It is an entertaining bit of fluff, with a few engaging performances and enough visual panache to keep audiences diverted and amused.

First Snow is an interesting and entertaining film. It's suspenseful and kind of scary.

Journey from the Fall re-educates as well as entertains, but never takes the easy way out, nor does it preach. In the end, it's a snippet of one family forever altered, and despite all the political undertones, it's the human level on which the film succeeds most of all.

War is chaos and confusion even under the best of circumstances, of which this current fiasco clearly ain’t. The Prisoner… underscores this fact, as well as muddying up the waters on such commonly accepted platitudes as "Support the Troops."

Fortunately, the filmmakers have quite a few clever tricks up their sleeves, bringing us a smart, refreshing an affectionate skewering of a celebrated genre.

If you're looking for Rock's trademark smart-ass wit, you'll want to look somewhere else. Likewise when it comes to a movie with something fresh to say about the balancing act that is wedded bliss.

It's hard to remain interested in everyone when they're continually shuffled around. Half-baked storylines abound.

With so many thrills, Loach has completed one hell of a multi-functioning work.

When the most sympathetic character in your comedy is a skinhead, you’re definitely on to something, and Jensen definitely is here.

300 is a feast for the senses (well, two of them anyway) and an impressive technical achievement. More than that, it's a hell of a lot of fun.

Joon-Ho's epic is a masterpiece of monster cinema that's intelligent, innovative, and reaches down to the basic core of family unity to propel its story beyond mere conventions of science fiction.