The problem with Sandler’s latest movies is that he now feels the need to inject some sort of dramatic conflict in order to complete his character’s shallow story arc of maturation/redemption. Introducing such mawkish sentimentality causes the humor level in his films, never that elevated to begin with, to sink like America’s credibility overseas.

A consistently provoking dark comedy that not only sheds light on our cynical society, but on mentally unstable people who find solace in children.

For telling America to acknowledge how far the country has deviated from its values and how painfully it has failed to make the world safer, this is the most important movie of the year.

The performances in the film are soul-saving.

It’s a weak sequel, to a weak series.

As with "Napoleon Dynamite," Hess' sense of humor is an acquired taste, where all the characters speak in peculiar cadences and are afflicted with a terminal case of the "quirkies." What’s unfortunately missing from Nacho Libre is much in the way of humor.

Kevin Bacon's witty and effective, yet squirm-inducing, directorial debut.

Wordplay is...well...just about as exciting as a feature length movie about people solving crossword puzzles can be. Not very.

Leave the Visine and wrapping papers at home for A/K/A Tommy Chong, a surprisingly clear-eyed, sober account of what it’s liked to be embraced by a culture, while loathed by the Powers That Be.

If Cars is indicative of the kind of movie we can expect from Pixar post-Disney merger, well, there's always Miyazaki.

The songs in the film are a blast and John C. Reilly and Woody Harrelson share one of the funniest singing moments onscreen ever.

Seriously, that kid is creepy as hell.

While The Break-Up fancies itself the heir apparent to other vindictive failed relationship movies like "Modern Romance" and "War of the Roses," its lead actors lack the comparable appeal to hold our interest

Think of "Escape from New York" starring two French Spidermen on speed, and you've got District B13, a snazzy, sensational action ride from big-bang guru Luc Besson.

The scenes feel real and both Duplass and Aselton do a great job duking it out. The Puffy Chair combines great original comedy and solid acting to make a fun movie.

There is energy to this film that is somewhat different from Nunez's others. Along with a terrific cast, Nunez keeps the action driving forward: dangerous, sexy, and conflicted.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

A thoughtful and skillfully developed story and a true Independent film.

An Inconvenient Truth is something you rarely see in movies today: a blatant intellectual fraud. Shame on all of the people involved in this travesty.

For a documentary about drama and all those who love it, director Alexandra Shiva's lukewarm study displays very little of it.

Even more frustrating than the trite dialogue exchanges, is the robotic performances delivering them. This is Tom Hanks' worst performance is years (maybe even his worst ever). Ron Howard's slothful direction is giant misstep from his previous effort ("Cinderella Man"), relying on techniques and hopefully he won’t repeat it again.

Aside from having some great animation, the writing is funny and clever.

A ridiculous messy Z grade film that should have been released straight to video.

With two of the three engines effective, Twelve and Holding unfortunately breaks down by trying to wrap up its problems too neatly. In this vision of early adolescence, the script throws in solutions when the preteens are still feeling out their issues.

In the plus column, Poseidon is a tightly-paced action movie that doesn’t depend too much on special effects for its thrills.

The kind of film that's too romantic for younger viewers and too redundant for young teens. For both sets, the laughs come infrequent (if at all), no thanks to Lohan giving another sub par performance.

An original, complex, and utterly gruesome revenge parable, and never portrays its characters as black and white. Considine handles his performance like a pro, and only adds to the pure skill behind it.

People like Amy Grappell should be highly honored for showing those parts of the world that we do not know, despite news networks insisting otherwise.