This film is designed to turn your stomach and make you feel ashamed of your fellow man.

Initially turns the dour field of psychiatry into an amusing, absurdist romp. Unfortunately, the further the film progresses, the more it relies on silliness and triteness for ever-less frequent laughs.

Everything about the sequel feels bloated.

A gripping example of "You Are There," on the spot journalism, even if it is a little slim when it comes to motives and back stories.

Each scene is enticing, draws you in, and tackles the verbal foreplay from the book nicely.

Unfortunately, despite a couple of creepy scenes here and there, director John Hancock doesn't inspire enough interest for us to want to follow Tom on his near two-hour Hardy Boys mystery. More groans than gasps for this one.

Whilst not an A grade psychological profile by any means, Ray has still crafted a meticulously enjoyable film. It’s as gripping as it is disturbing, and as well performed as it is mysterious.

By turns chilling, depressing, yet guardedly optimistic documentary.

Radio is a film many people may be tempted to laugh off as button pushing feel-good fluff. Before doing so, they might want to ask themselves just what it is they find so funny about a little peace, love and understanding.

Overall, the whole isn’t as funny as some of the parts. While some scenes had me laughing hysterically, others had me looking at my watch and feeling like I was in the middle of a “Saturday Night Live” sketch that was just going on waaaaaay too long.

Predictable? Yes. Corny? Sure. But Brother Bear is still good, family fun.

Given their lack of training, nearly all the young performers do a commendable job. It's the director who slips up by, among other things, dividing his cast into such predictable phyla.

Both Democrats and Republicans take it on the chin here, although the left-leaning bias is obvious.

A genuinely brilliant cast--Robin Wright Penn and Katie Holmes are especially notable--distinctive camerawork, and terrific art design all contribute to this unique blend of fantasy and reality that truly transports the viewer to a magical realm.

See the true story of Sister Helen and her band of weary men now.

Campion and company may like to think they've made something provocative, moody and new but it's really just "Looking For Mr. Goodbar" with extra nuts.

Everything that made the original Chainsaw a classic is ground into the dirt in this new version.

It’s a crisp piece of entertainment that was worth waiting for, considering that I’ve been waiting quite a long time to see this ever since reading the book.

A film to savor and to be thankful for.

A mediocre film that presents the troubled poet Sylvia Plath as a jealous, possessive and irritating woman. It is hard to recall another biopic which is so unflattering to its subject.

A gorgeous and poetic meditation on fate, honor and life in the Old West.

Just what it says -- good. Not great, but not really bad, either.

This is a decidedly hit or miss deal which, despite the current outpouring of critical praise, is destined to rank among the Coen's least memorable achievements.

Without a doubt, making the most substantial impact is Thurman. While she has proven her versatility over the years, her work as The Bride shows that her talent is matched by her fearlessness.

Here’s a would-be horror film that contains not one ounce of professional pride in its making, not one shred of technical competence. This is one of the worst films of recent times.

Would that we could extract the essence of this utterly enjoyable film and distill its creativity, intelligence and originality into a serum which we could then inject into all the tapped-out Hollywood screenwriters and directors out there.

Rude, crude, gaudy and often hilarious.

Echoes Eastwood’s previous exploration of true-life violence, “Unforgiven,” by tracing how death and depravity stain one’s life for generations, leaving seeds to take root in each branch of a tainted family tree.