Alas, the big screen also magnifies the problems with Once Upon a Time in the West. Specifically, Leone’s insistence on style trumped the need for substance. The film is basically a B-Western stretched an agonizing 165 minutes.

I would like to praise My Big Fat Independent Movie for achieving something that most independently-produced comedies fail to do: it creates laughs.

Repetitive interaction between characters in an aimless story can't hold up the film's weight, and it eventually collapses on its noble attempt to capture life's frustrations and compromises.

As it is, Flightplan is half of a pretty good movie. But to maintain that impression, I recommend you take a nap for the last 40 minutes.

Nothing about this film is as cathartic as it tries to make itself be because the characters just aren't that absorbing. Instead of tugging your heart, it just spits in your eye.

The film is challenging and consistently interesting, but also trite and overbearing to the extent that it damages its message.

Hollywood is definitely at its worst here and not the type of Hollywood which would dare to greenlight this; just Hollywood being portrayed on film.

Has a terrible air of been-there/done-that.

This is definitely not your typical Cronenberg. No matter if you either love his cinematic oddities, or if you’re put off by them, watching A History of Violence would prove beneficial. It’s no doubt one of the best films of the year.

The greatest accomplishment of Occupation: Dreamland is showing those of us on the home front that it really is possible, Republican howling to the contrary aside, to support our troops without supporting the war itself.

Handsomely produced but emotionally inert offering.

This sounds an awful lot like "Memento." But unlike that movie, the French-Swiss-Spanish-Italian co-production Novo opts for a Eurotrash sex comedy approach instead.

Paltrow gives the performance of the year, and perhaps of her career, in this extraordinary and powerful dissection of genius, jealousy, madness and serenity.

Writer-Director Paul Etheredge-Ouzts has a clear understanding of the beauty of a slasher film. A formulaic genre, it’s not the blueprint that’s important, it’s what you do inside it that matters.

Cry_Wolf has nothing going for it.

You won’t want to sit through.

An arresting and disturbing piece of work that gets its message across without coming off as overly preachy.

A visual triumph, and also a work of surprising warmth. No small accomplishment for a bunch of cadavers.

Part of what makes the film engaging is the carefully nuanced performances Panayotopoulou gets from her actors. In particular, Giorgos Karayannis.

Benefits from a goofy yet incisive sense of humor and some extremely strong performances.

Sadly, the death scenes are so unimaginative and the gore is so minimal that you might miss it if you blink.

I haven't seen such meaningful insight into the nature of human cooperation since this morning's "Sesame Street."

Could have been both a gripping courtroom drama and a chilling "is she or isn’t she?" horror tale. What we have instead is a movie that drifts, almost unmanned, from plot point to plot point.

There’s enough character development for a 20-minute short, and 75 additional minutes are manufactured with slight variations on the same scenes in different rooms of the house.

Typical of too many films produced in Israel: plodding, verbose, badly-made and completely monotonous.

A great film because of it's realism and the ability to show viewers a world that exists even today, but not everyone knows about.

Fluff. The cinematic equivalent of too much cotton candy Tetsuya Nanashima's Kamikaze Girls is a hyperkinetic fun house ride that is about forty five minutes too long.

The cast is genuine in their emotions, the film depicts them that way, and the camera doesn’t feel compelled to go hand-held crazy--which is refreshing.