Offers an unflinching look at the effects of a terminal diagnosis, not just on the victim, but on everyone around him.

While the screenplay for Little Chilldren is basically perfect, it's the acting that really drives the film home.

This isn't to say The Departed is a bad movie, far from it, but knowing who's directing it and the amount of talent he had to work with, it's hard not to be disappointed that Scorsese didn't knock us on our asses. Is it his best movie since "Goodfellas?" Sure, but it falls shy of that film's excellence.

It tries to toe the line between romantic comedy and vulgar pseudo-satire and fails at both.

"The Beginning" is a better movie than the 2003 remake, even if the plot is understandably similar. There are only so many ways hapless teens can get brutally slaughtered, after all, but Liebesman and company keep things appropriately creepy, right down to aping the look of the 1974 original.

The film's effectiveness is bolstered by juxtaposed scenes of fat and happy Americans and Europeans slurping up frozen chai lattes and clucking about how big Starbuck's is getting with scenes of children going into "therapeutic feeding centers" in the region where Starbuck's gets its coffee because they can't afford to by corn.

Full of interesting visuals and illustrations, Tales of the Rat Fink would have made a really great introduction to a film that I never got to see.

Cegavske's film is a meld of surreal imagery, and a morbid somewhat horrific story that art lovers will enjoy. Horror fans need apply.

Davis and company need to be taken to task for giving us a movie that makes rescue divers, arguably among the most death-defying of professionals, boring.

Downey Jr. and LaBeouf as Dito as well as Chazz Palminteri as Monty are outstanding. Channing Tatum (who I've never heard of) is also amazing as the tortured soul Antonio.

The Pixies are back together, the music is as unbelievable as ever and what more could you ask for?

In addition to a very engaging script, Forrest Whitaker and James McAvoy amazingly express the tension and the camaraderie shared by Amin and Garrigan.

Comes up short in many ways, but none more so than its failure to fulfill Penn's and Zaillian's desire to provide the catalyst for political sea change.

Comedy, like most everything else, is subjective, and this may be the greatest example out there of "getting it" or not. If you thought the first movie, the original TV show, the Three Stooges, or "Football in the Groin," was funny, chances are “ackass: Number Two is right up your alley.

The theme behind Fearless is utterly simplistic, but universal: violence begets violence. It's a never ending cycle that becomes more and more vicious, until someone decides to stop it. It's a worthy final installment.

This is a superior horror film. It hits hard and fast, letting up only to inject some black humor and amp up the tension again before coming back for more. Feast is nasty, brutish, and short, just like Hobbes said all horror flicks should be.

Jesus Camp works nicely as a time-capsule document confirming the impact -- and popularity -- of American evangelism.

Not only documents a fascinating part of American history, but also leaves us wondering how (and if) this era's youth will manage to find a voice of their own.

Director Marc Rosenbush gets the absolute most he can out of his no-budget-friendly, minimalist location and a solid, if unremarkable cast.

The Science of Sleep truly has to be seen to be believed.

Seeing stories about politicians like this that are so strongly passionate and enduring uplifts our feelings of dread towards politics. If only more politicians followed her example, perhaps we wouldn’t be in the current state we are in today.

A superb exercise in economical filmmaking. Not only from a financial standpoint, as the film was shot in HD and on-location in gorgeous Portland, Oregon…but the story here is so subtle and well drawn, if you blink you might miss it.

It looks stylish, sure, but the script is laughable and the acting is ridiculous.

Far from being a mere polemic, The Ground Truth is bolstered immeasurably by Foulkrod’s almost exclusive use of interviews with actual veterans.

Generally, this film is lively and entertaining. The dialogue among the four principals trips along at a brisk pace, never becoming overly dense or plodding.

A welcome return to the raunchy hey-day of comedy, a true guy's film.

Features an excellent cast all of whom shine. Affleck as Reeves has never seemed more charming and Brody’s Louis Simo is pretty much a scumbag who still manages to gain our empathy.

Sadly, the greatness of Jaa's movements are drowned by an ocean of bad editing, terrible dubbing, disorienting action sequences, and repetitive fight sequences that feel as if they were copied straight from a side-scrolling videogame like "Streets of Rage."