In the end, Jack, Kyle and director Liam Lynch ("Sarah Silverman: Jesus is Magic") have created more than just a low-brow comedy, they've created a comedic saga, a film more rock show than movie.

Casino Royale is quite possibly the best action movie of the year.

Overall, however, for a children's film, it hits all the major notes. Keep it musical, keep it lively, keep it cute and, you know, if you can, slip in a moral.

Through it all, Fast Food Nation never really preaches to viewers, it just lays ideas out there. In that respect, it's every bit a talky, philosophical Richard Linklater movie.

By the end of the 99 minute running time, there is a terrible sense of been-there/done-that. And for artists of the Quays' caliber, that is a huge mistake.

While an enjoyable twist on the noir genre, a little more character development would have been nice.

The thing is, these chatty, pedantic, annoying characters are simply not interesting enough to follow for five minutes, let alone over two hours.

Give Harsh Times an "E" for effort, but not much else.

An oddly sweet little tale, and easily Ferrell’s most enjoyable movie in recent memory. And even though his onscreen chemistry with Gyllenhaal fills me with murderous rage, this film goes a long way towards erasing the memory of his more obnoxious roles.

Offers the Iraqis a rare chance to share their anger and their lives with the outside world. The resulting production is a raw and powerful film that demands to be seen.

The end result is stale, clumsy, and about as compelling as an average episode of "As the World Turns."

Provides a highly provocative and humorous overview of a word that, love it or hate it, undoubtedly holds more power than its measly four letters might suggest. All in all, I'd have to say that this film was entertaining as f*ck.

While the film suffers from a forced absurdity meant to invoke comedy and laughs along with a sluggish pacing, Rejtman captures the grim monotony of life well.

Borat isn't just one of the funniest movies of the year, it might be one of the funniest movies of all time.

Speaking as a reviled straight male, I would say that the only true saving grace about this film is Penelope Cruz's performance.

Modern-day poetry about being older.

Works best as a beautifully executed and inspirational work of self-sacrifice.

As much as you'd like the characters to become better people and beat Jigsaw's game, there is also a strong desire simply to watch violent spectacle. And somehow, there just isn't enough of the latter.

The film is technically superior, and its look and the strength of its performances (Blanchett, Barraza, and Kikuchi especially) carry it above similar fare.

The film is professionally made but a thorough bore at every imaginable level.

Traveling faster than a fat line of blow snorted from mirror to nose, Cocaine Cowboys is all rush and no crash.

Reports of boos at the film's debut at Cannes are more understandable now, not because Marie Antoinette is an inaccurate or indifferent look at French history (it is), but because it's self-indulgent shit. Booing - and beheading - are too good for it.

Murphy doesn't have much of a handle on juggling laughs with pathos, and this makes some of the more touching scenes unintentionally amusing. The film, like Augusten's life, is uneven but not without its charms.

What Flags of Our Fathers is not, however, is moving, evocative, or very unique.

When all is said and done and you get the full explanation of what meant what and who did what to whom, it's not fulfilling at all. It's a magic trick that's all showmanship and craft, but lacking true whimsy, ultimately failing the audience.

Provides lethal evidence of what becomes of those who deposit their sincerity into the command of a religious lunatic.

It's pretty basic here. You have a Bill Plympton movie. You know what to expect – complete rampant insanity from the mind of a mad genius.

The same problems that plagued the original are on display here. Most notably, the lack of any coherent plot. Lots of creepy kids jump out at us, but these scenes are never satisfactorily meshed into the story itself.