As ambitious as this alleged art film may appear - the Bunuelian title proves to be more of a starting point than a true allusion - it lacks any introspection to illuminate the erotic subject matter. (Think Michael Bay attempting to remake "Y Tu Mama Tambien.")

An indolent, PG-13, Disney "biker" flick that does for comedies what Exxon did for Prince William Sound.

The more unpleasant aspects of the case are minimized in favor of telling the story and highlighting the effects of the case on these four men. It drags in spots, but even if Fincher hasn't hit it out of the park, Zodiac is easily a stand-up triple.

While the film feels a little creepy towards the end, Archer has a really amazing visual style and I can't wait to see what he comes up with next.

Whatever the final analysis, Reno 911!: Miami is a welcome breath of fresh air in a year that's already forced audiences to endure the likes of "Norbit."

The festival's audience is as integral a part of the proceedings as the music, and we get a rich portrait of the wide variety of pranksters, iconoclasts, and freaks that descend upon the West Country of England in the hundreds of thousands every year. Glastonbury offers an exhaustive look at what remains the largest event of its kind.

Breach is a look at the insecurities and flaws we all carry, it just happens to be embedded in the story of the worst traitor in FBI history.

As a film on its own, Ghost Rider isn't amazing, but it is definitely a decent popcorn flick. As an entry into the superhero genre, Ghost Rider is only a couple notches above the "X-Men: The Last Stand."

Antibodie does fasten a tight squeeze on its audience, right from the get go, and even despite the long run time, just over two hours, it's a consistently tense ride.

The plot is paper-thin, and the set-up is beyond contrived (a plant waterer?), but there are a surprising number of laughs, and the saccharine content is kept to a minimum. A mostly enjoyable experience, all told.

This is essentially a by-the-numbers revenge film with some attempts at deeper characterization. The difference between this film and, say, "Batman Begins" is that Bruce Wayne, upon finding the tormentors of his youth, never tried to kill and eat them.

Compared to Norbit, “Date Movie” is "Casablanca." If I thought hijacking a plane carrying prints of the film and crashing it into Murphy’s house would put a stop to it, I’d go out and buy a box cutter right now.

Even with a look at many of these people's relationship problems, there's nothing remotely interesting to listen to when they talk. In this case, it's the fault of the script, which doesn't provide much of anything interesting to keep it going for as long as it does.

By far the most appallingly cretinous picture in which Keaton has ever appeared.

The story is so ridiculously obvious it's not even remotely enjoyable.

Captures the building of the freeway as well as the lives of the people working on it. The problem is, the lives of the people aren't all that interesting and the freeway being built isn't either.

Kirk and Mol are convincing, easily inhabiting their respective roles.

Borrowing more than its title from the Frank Capra social comedy, this underdog tale is a rough gem.

It's a nice refresher course to remind us how hard Nader has fought for everyday citizens, ultimately saving hundreds of lives in the long run.

Won't make anybody’s "best of" lists a year from now, but it's nowhere near as offensive as some other examples of this moldy genre.

It is just too bad that the film isn't called "Miniscule Movie" because that is a better description of this epic-less piece of garbage.

Spends too much time straddling the line between exuberant carnage and serious plotline when it should've gleefully backflipped into the former. Grudgingly recommended, but only if you've put your cerebral cortex in neutral for the evening.

It's good then that From Other Worlds doesn't strive for masses of people either looking at the alien spaceships before their demises or working to understand the communications being sent to them. Sometimes it's enough to just have two people there to meet them. Two people are enough for the entire world and that's what makes this a novel experience.

Reviewing it is a wholly meaningless exercise, but I do it against my better judgment that anyone even seeks a second opinion before plopping down their hard-earned money for garbage like this.

This is a truly disturbing work that makes the mind race with worry, and the heart pump with fear, though thankfully not in a way that tests a viewer's unease every minute. Gradually. Ever so gradually.

Your enjoyment of Alpha Dog may very well depend on how put off you are by these facts, as well as how much you buy Timberlake in his role, and how in the mood you are to sit through "River’s Edge" set in the "Entourage" universe.

Visually stunning and contextually provocative, God Grew Tired of Us is quite simply one of the most beautiful documentaries I've ever seen. Intelligent, heartbreaking, uplifting, humorous and reverent, the film is an adventure in what it means to be human.

A well-designed vehicle for the director's long-time star, Isabelle Huppert, whose focused portrayal makes this film a well-honed character study.