It's such a dumb movie, it's hard to believe it wasn't an SNL sketch first.

Where earlier Moore films showcased a fair amount humor, even when covering weighty topics, Fahrenheit – especially the latter half – gives us Moore at his most serious.

It may not be great but you're guaranteed to feel great walking out the theater door.

The message is clear, and powerfully told.

Top it off with a cameo by the real-life Phil Kaufman, and you've got a rock'n'roll road movie like no other. Wherever he is, Gram should get a kick out of it.

A consuming and stimulating work and a theoretical thriller, it is a film which could only be created by a remarkably skillful filmmaker.

One of the most effective, intelligent, mature and romantic love stories to come across the screen recently is, of all things, a documentary.

Before approaching the end of the film the seduction of the doctor is not that important because by that time the audience has already fallen under the spell.

There's just something maddeningly upbeat about this film's shameless hokiness. Combine that with the film's colorful art and wardrobe designs, spiffy choreography, the joy of seeing some veteran faces on screen for the first time in a while, and a soundtrack that'll make even the dead tap their toes, and Swing simply makes for some serious jump-jivin' fun.

Isn't going to win over the art house crowd, but you could do a lot worse for summer entertainment.

The story and themes behind The Stepford Wives are way past their time. They’re products of the 1960s.

Overall, Garfield's first movie might not be as amusing as the cartoon but it was still a lot of fun to watch.

The cast playing these eccentric characters is magnificent...This is definitely one of the most unique comedies you’ll see all year.

A well-intended but hopelessly ill-focused documentary which wants to be the "That's Entertainment!" for the New York theater but seems like a hodgepodge of anecdotes, factoids and moldy memories.

Quirky, entertaining documentary.

Eminently successful at portraying the former first lady's flaws because it allows her to describe them herself.

If my moviegoing experience was magical in any way, it was only in that I once or twice nodded off for a spell.

A meandering and disappointing documentary about one of Africa's most beloved yet elusive musical giants.

Fascinating and beautiful film.

Powerful, infuriating, and ultimately sobering. Make an effort to see it.

Deadline contributes reason and passion to the ongoing debate about whether civilized nations should employ the ultimate punishment and how justly it is administered.

A raw, brutal, hypnotic journey into the world of seven heroin addicts who barely survive on the streets of New York City. It is a film of great sadness and pain.

The really good news is that the disaster money shots are some of the finest ever filmed.

A lot better than one would expect. It's amusing, it's inspired and hey, it's a lot wittier than the last two "Scary Movies" combined. Though, like most lampoons, it runs out of steam about half way through.

A heartfelt and incredibly resonant ode to his father's achievement, Mario's film relives the blood, sweat, and tears that went into the making of Melvin's pioneering effort.

Bukowski is one of my all time favorite writers and now I have an all new respect for the man thanks to John Dullaghan’s phenomenal film. I’ll be breaking out “Post Office,” “Ham On Rye,” and “Notes of a Dirty Old Man” again very soon.

Saved! is just a sweet and funny movie that starts off with bite but settles into an honest feeling of happiness and acceptance for all types of people and their choices.

Because much of the dialogue exchanged between the brothers and some of Kyle’s auditory flashbacks allude to situations that aren’t clarified until over sixty minutes of the film have passed, there’s strong motivation to pay attention.

As Leth overcomes each obstacle set before him, the film becomes a work of extraordinary artistry, intellectual exhilaration, emotional uplift, and outright affection.

The script offers up some deviously clever twists and dark laughs reminiscent of the over-maligned French (coincidence?) Stewart spite-a-thon, “Love Stinks,” only with a jaunty European twist.

Here's the sliver of hope: In contrast to everything we've been told, the people who run Al Jazeera turn out to be decent and level headed.

Though there's nothing especially terrible about Stateside, there's nothing terribly special about it either.

Serves up heaping helpings of everything fans loved about the first.

This is clearly not a pleasant film to watch on many levels.

Wolfgang Petersen's popcorn epic doesn't fail exactly. It just takes on too much. Modern man is at something of a disadvantage-even aided by his trusty muse, the computer-when presuming to bring the stuff of gods, myths and timeless sacred texts to the big screen.

A large, magnificent cast brings this story vividly to life, supported by superb art direction and technical contributions. Capped by Babenco's vigorous, often ferocious direction, the film is a towering achievement, offering an unforgettable portrayal of the lives and plight of the forgotten.

My only question is, how did they ensnare you, Eugene?

Sommers suspends the laws of time and physics and forces his characters to spout some of the cheesiest dialogue imaginable.

A film that's every bit as odd, unique, and unnerving as its title character.

While the Raymond Burr sequences and the subsequent clumsy English dubbing of the remaining Japanese footage made the U.S. version an unintentionally funny movie, the complete Japanese version is an unfunny bore.

For nothing but pure goofy escapism, A Foreign Affair is at least worth a fling.

Another astute independent comedy shot on a small budget and boasting high laugh-per-minute ratio. But these are good laughs, not your average sitcom laughs.

Beyond any contention is Morgan Spurlock's gift for metabolizing common knowledge into uncommonly entertaining cinema.

It may not feature the funniest performances Stiller, Walken and Black have ever given but, these three guys giving performances just this funny is enough to make Envy a movie you'll end up kicking yourself for missing.

When is a horror movie not a horror movie? When it’s a strained, by-the-numbers production that limps to an unlikely conclusion like Godsend.

The most painful part of seeing this movie is not the fact that it fails to deliver but that it actually came close.

It is Fey’s refusal to talk down to her audience that elevates Mean Girls above most other teen movies out there.

Insanely inventive and brimming with exceptional performances, The Saddest Music in the World is as audacious as it is entertaining.

Does it have its moments? A few, but those alone put it head and shoulders above similar offerings featuring, say, Julia Roberts.

Seriously, someone needs to stage an intervention, sit Scott down, and tell him that repeated jump cuts, slow-motion shots, and fiddling around with the exposure don’t enhance the viewing experience.

The film reveals a man whose wiry build, relentless passion, fearless guile, and bravery made him a beloved human rights activist in his strife-ridden country.

The photography alone would make this a worthwhile effort, but the drama that unfolds over the two years on tour is equally involving and framed by the interviews with former champions.

“Volume Two” is what they call a movie-lover’s movie, in that it’s replete with references to just about everything a cinema geek would appreciate.

The movie lives up to its “R” rating in the final scenes, but it’s too little too late.

A young man wanders the streets looking for love. There you have most of the plot of Julián Hernández's masterful debut feature. But what a rich cinematic journey this is!

This is a finely crafted film for grown-ups only ... and it's hard to remember the last time we had one that was this provocative and moving.

A dull film, inspired by a true story.

While the massacre is a wall-shaking and effective bit of high decibel drama, some of the movie's best moments come during the Texans' long brave wait for almost certain death.

Really doesn't take itself seriously. In fact, it so doesn't take itself seriously that it has a negative impact on the film.

It's got everything the genre calls for – boppy music, cute boys, cute girls, lots of sexual lingo, and most importantly, laughs.

I’m Not Scared manages to convey a truthful approach to the beginning of the end of childhood.

Hellboy just might end up being one of the best movies you see this year.

Has a wacky charm and a feeling like no other Disney film in recent years.

Is there really a deep hidden meaning (DHM) to redeem this hopelessly dry and nebulous film? No, at least nothing that hasn't been done better before.

Thoroughly entertaining and will possibly get you thinking about certain choices you've made in your life.

My conception of “punk” must differ from the creators of Tamala 2010. The lead character is feisty enough (she says “f---” a lot), and even skateboards, but she’s owned lock, stock, and oversized eyeballs by the Big Evil Corporation.

Has more heart up on the screen than any film I’ve seen in recent years. I mean, we’re talking sappy, sweet, heart wrenching sentimentality.

The picture ranks with the brothers' best mid level output-not as sublime as "Fargo" or "Barton Fink" but infinitely more satisfying than "The Big Lebowski" or "Intolerable Cruelty".

If Dogville has a reason for importance, it is the astonishing all-star ensemble who try very hard to put life into their cardboard characters and make this silly film work.

Compulsory viewing for anyone with the slightest interest in rock history or the power of celebrity.

It’s an exciting movie filled with plenty of action, adventure, beautiful cinematography and best of all, terrific performances.

Little kids should like this film. But the smarter humor and in-jokes from the first are gone, which is going to lose a lot of the older audience.

Fresh, heartfelt and ultimately heartbreaking in its honest portrayal of a modern relationship.

Has a lot going for it, but two-thirds of the way through, things fall apart. The film’s weaknesses are directly tied to the narrative.

First time director Zack Snyder has done an amazing job of creating a sense of doom and dread while sprinkling it with some wicked humor and amazing music.

Performances are spot-on from the entire cast; each memorable character is finely detailed and full of eccentricities that are beautifully underplayed.

The worst sin of omission in Secret Window is the removal of the fact that Rainey had actually plagiarized in the past. In the story, this is critical because it is the source of Rainey’s guilt -– and arguably the reason for his success.

Painfully boring.

This is a serious look at the corrupting influences of fame, money and entertainment, and what it says about us may be even more damning than what it says about its participants.

This tired old pile of garbage will hopefully be chased out of town soon.

Nothing more than a big old chunk of horse poop.

This amazing tour-de-force presents Huppert in a role, which is equal parts abrasive and vulnerable, exasperating and pathetic, monstrous and saintly.

Broken Lizard manages to poke fun at the genre without falling into the trap of recycling old Scooby-Doo jokes.

This cinematic train wreck reminds me of when Hollywood decided to cash in on the success of “Chinatown” by making a sequel...

Relies heavily on strong performances from Brühl and Sass to make the illusion believable.

While it fails to shed significant new light on its subject, Gibson's film and the all-Jesus-all-the-time attention from the media it's attracted do tell us something somewhat disconcerting about the state of American culture: That the way to make a religion based on love and forgiveness relevant today is to turn it into violent entertainment.

Like all good films, it raises these types of questions, answering some, and leaving some for you to answer yourself.

Overall, this is just another boxing movie with few surprises and an awkward message to viewers.

If you go in thinking it’s just a stupid teenage sex comedy, it can be pretty funny.

Not exactly screwball, and not exactly sentimental, but an uneasy and uncertain mix of the two.

Truly magnificent.

If you've got the opportunity to have someone as talented and game for anything as Swinton, you really owe it to her to give her a real movie to be in.

As corny as it is, there’s a lot of heart to 50 First Dates. But this happens more in spite of Adam Sandler than because of him. The heart comes from Drew Barrymore, really, and some of the supporting cast.

This is a great little thriller with some genuinely creepy moments.

I was hoping to be blown away, but was left feeling much like the iPerson in the "Machine Love" segment -- kind of cold.

It ain’t high art, but it is a fun flick.

It’s not a great film, and it does rely a bit too much on the “evil bank” motif, but it might be worth a Saturday afternoon with the kids.

The film has many great moments, but dare I say, it’s not melodramatic enough. To understand the magnitude of the miracle on ice, you had to live it, breathe it, and feel it.

Gorgeously shot, cleverly directed, smartly scripted and convincingly performed, The Dreamers is itself something of a movie puzzle.

A spot-on homage/parody of bad 1950's sci-fi movies.

With exceptional performances and extraordinary imagery, Zvyagintsev has fashioned a remarkable first feature.

Filmmakers Rossi and Novak have done a wonderful job of making all of this entertaining, not just for those interested in the business, but to us ordinary joes as well.

By the way, good luck making sense out of the final fifteen minutes. I'd say people were asleep at the wheel on this one but the film is so pointlessly all over the place that I'm not sure there even was one.

Takes a workable premise wrapped inside a mostly-talented cast and piles it all on poor Bosworth’s shoulders; it’s just not fair, you see how narrow they are.

Suffice it to say that MacDonald has made the finest mountain climbing movie you are likely ever to come across. The cinematography is awesome, the score by Alex Heffes terrific, the reenactments remarkably credible.

A terrific story, years in the making, that clearly stays true to the uncompromising vision of its creators. The results are on the screen.

The result was one of the worst films I've seen in a long, long time as this entire movie proved to me is that it's never too early to start the race for next year's Golden Razzies...

The plot, characters, story and dialogue were all secondary -– or lower. With this in mind, Torque really wasn't that bad. In fact, with this in mind, Torque was actually pretty good.

The story takes some kooky turns and, at times, delves into the supernatural.

The film is a stunning piece of visual poetry that will, hopefully, be remembered as one of the most important stories to be told in Australia’s film history.

Music fans of every stripe should kill to see this film, one of the very best music documentaries in recent years.

The pacing is perfect and there’s no shortage of interesting revelations, and let’s face it, there aren’t many more subjects under the sun that are more interesting than serial killers. Consider "Aileen" to be an essential viewing companion to its dramatic narrative counterpart.

This extraordinary work of cinematic art is among the most sublime, compelling and beautifully crafted films to grace the big screen.

As he did with “The English Patient,” director Minghella performs a miraculous juggling act, balancing his epic, sweeping story with the subtleties of character and detail that make Cold Mountain breathe.

Longtime fans of John Woo, who have come to accept operatic, lead-slinging death dances as an integral part of the director’s powerful aesthetic, will probably be unsatisfied with this neutered variation on his earlier, superior works.

Jenkins' film ranks as one of the past year's very best. Like "In Cold Blood," "The Onion Field" and "Dead Man Walking" before it, her picture provides a mesmerizing portrait of the human side of evil.

Could be subtitled “The Parade of Overrated Actresses.”

Simultaneously offers priceless insight into the nation's past and a worrisome take on the future.

Exceptional performances and unexpected twists of plot keep the story from descending into overwrought melodrama.

Writer/director John Kesselman serves up a stylin' live-action spoof that irreverently milks stereotypes and bravely pokes fun at that which is usually sacrosanct.

If The Return of the King was 2 1/2 hours long, it would have rocked. It would have been better than The Two Towers, which is the best film in the series.

The film makes an honest effort to present this story as intelligent and thought provoking, but ultimately falls flat because it doesn’t provide enough reasons to care.

A fun movie. It accomplishes exactly what it sets out to do. It’s a great first date movie.

A sweet and fresh comedy that was a joy to watch.

If you’re a big fan of the Farrelly Brothers' films, you should like Stuck on You. If their films repulse you, stay home and rent "The Hours" again.

It's quite difficult to find a character we can remotely identity with. This is frustrating because the film is so profoundly well written, acted and filmed.

An achievement of this magnitude is a stunning and extremely pleasant surprise.

Watanabe's charismatic performance and a couple of colorful minor characters aside, The Last Samurai has little to recommend it.

Maybe someday an enterprising filmmaker will make a film about this forgotten chapter in Muslim-Jewish relations. It would be a lot more compelling and memorable than the nonsense in Monsieur Ibrahim.

An unusual angle on the age-old coming of age story. Filled with solid performances by veteran actors Ivey and Raymond, as well as a captivating performance by newcomer Grace.

If you view life as being full of rainbows and ponies, you'll see this film as a remarkable display of courage and hope. If you wake up to reality, though, you'll see this as a depressing exercise in futility.

Contains enough magic and sincerity to cover the proverbial multitude of cinematic sins. And, better yet, for all the Irishness, it contains not a single alcoholic and not one barroom brawl!

Breathtakingly inventive story.

A frozen pile of reindeer droppings. The cinematic equivalent to passing a kidney stone, Zwigoff’s unholy foray into “dark comedy” gives us a suicidal, sociopathic drunk slinging swear words with a ferocity that would make Tony Montana wince.

With The Haunted Mansion, Eddie Murphy continues in a long line of family film stinkers.

For my money, the movie should have given us more of Macy the magical loser and less of Macy the stud muffin.

Each and every one of the movie's 125 minutes is a moment of searing truth.

Left me feeling empty inside. There’s no warmth and character from the original Dr. Seuss book, and there’s no substance or soul in the story elements.

The best they were able to manage, apparently, was a grabbag of spectral sights and spooky touches grabbed from better horror films and a final act that raises more questions than it answers.

Some of the acting may not be the best and many of the points aren't made with a soft touch, but damn, I can't think of another film about addiction with a more accurate view from the inside.

The performances are great, the chemistry between the two leads is very good, and Ron Howard again proves himself a slick hand behind the camera. But like a lot of these power-packed pictures, there’s just something missing.

Director and (uncredited) choreographer Robert Cary and his performers are simply not up to the task of recalling the great moments they are trying so hard to evoke.

The best boy’s adventure of the year.

Is Looney Tunes: Back in Action a great achievement in animation? No, but I think that's the point of the film -- that the old cartoon characters and drawings are more human than the visual miracles produced by Disney and Pixar.

Takes a look at the man’s entire life and grants us an eye-opening look inside his brain. And now that the supposed be-all-end-all documentary has been made, let’s let the guy get some f----- rest, okay?

I love a nice, quiet film. It’s so relaxing and such a nice break from the flashy multiplex fare. I love watching films that you can let just wash over you. The Hungarian film Hukkle provides that comfort, while at the same time coming up with an inventive way to tell a story.

Fascinating and heartbreaking film.

If you’re not a fan of Will Ferrell, you ain't gonna like this film. But if you think he's funny and you don't mind a sappy ending, this is a decent holiday flick.

Ultimately, when Love Actually pulls out all the stops, which it does at least three times during the final smorgasbord of climaxes, it can be well nigh irresistible.

This is a truly strange love story that definitely grew on me as it ran its course, or perhaps it was just that infectious song sinking its hooks into me.

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.

An amazingly powerful piece of cinema. Actually, it's more an amazingly powerful piece of news journalism; the kind of in-depth stories told in all their complexity that such fluff American network "news" magazines as "Dateline" could only dream about telling.

A very important film that is as sad as it is uplifting. After viewing it you may just have a whole new appreciation for life.

Anyone who loves rock music will appreciate the script's insights into the form and its history.

The first half of the film is engaging enough to overshadow the missteps of the final act. It's a down and dirty look at the world of the ko gals, but it has class.

Tom McCarthy’s film is never more than small, and that’s how it should be. It is about treasuring life -– sometimes even cheating death -– and it manages to warm hearts in its own uncompromising way, rarely cheating and never belittling.

When you watch Wonderland, going back twenty years plus, you think you're in for some paleontological expedition. Yet, thanks to James Cox's considered and adept direction, a cast and script that never cheats the experience or realism of Hollywood's enigmatic underbelly -- the drama of the 1981 Wonderland murders is de-petrified.

Has more than enough charm to make it memorable. Hurt shows a gentleness and subtlety that's interesting to watch in this phase of his career.

I loved this film; from the opening “Ben-Hur” nod to the hieroglyph subtitles, it's simultaneously hilarious and poignant, with great performances.

What DeVito does that makes me consider him a master is that he is able to capture the most horrible and nasty facets of the human condition and present them on the screen with the charm and warmth of an Andy Williams holiday special.

Is he (Rock) the next big thing? After seeing The Rundown, one of the most joyfully silly genre films in recent history, he has my vote.

A charming, highly entertaining romantic adventure full of life, spectacular vistas, and sensual delight.

More "Heat" than "Eraserhead". It's all good. Just don't be disappointed if it's not what you were expecting. Try to enjoy this for what it is.

A small, no-budget, seemingly unsophisticated film that creates a minor energy miracle by fueling its running time on pure raffish charm.

The film has a lot of humor and joy in it.

Demonlover would have probably been plane insufferable without Gina Gershon. All the other actors are doing an outstanding job of playing essentially dead souls, and it's a saving grace that Assayas allowed her, at least, to have some fun.

Figgis has spent too many years crafting thoughtful, innovative films to have much of a knack for storytelling this mechanical and many are the moments when he does indeed seem to have been asleep behind the wheel.

It's a feel-good movie, but not in a bad way. It makes you feel good the way that “Forrest Gump” made you feel good, as if the filmmakers were seriously trying to make a fun, wholesome, entertaining movie without taking on the industry with a moral agenda.

There's too much pretension in this film. Lots of intense stares into the camera. Lots of uncomfortably hip clothes. Lots of pompous names for themselves.

The film has a riveting central narrative, the performances are compelling and, most of all, we need to hear more immigration stories like this.

While Cabin Fever takes its horror very seriously, it still shows that it has a sense of humor.

This is the work of professionals acknowledging a good story and knowing better than to get in the way.

If only there had been more Salma Hayek.

With this marvelous cast of characters and the comic brilliance of writer/director Greg Pritikin, nary a minute goes by that you're not slapping your knee with laughter.

There isn't another American screen actor who could have given this performance, not one who so deftly could have navigated the razor's edge separating the wiseacre and the wise.

New territory for the Vermont director, and he shows every sign of feeling right at home in it.

Congratulations to Robb Moss for making such a crowd-pleaser. But more importantly, congratulations to Moss for having such interesting friends.

Godawful mess.

An emotional picture that benefits from the extremely powerful performances of its stars.

Overall, I have to recommend the film for its alternate take on the whole "Leaving Las Vegas," "Basketball Diaries," "Less Than Zero" drug-induced tragedy genre.

A decidedly sharp drop in quality from the first film. It’s still a somewhat decent horror flick if you’re looking for cheap scares and eerie imagery.

In short, this is an x-treme documentary, as riveting as a road accident and a lot more bloody. That this film might give other young people ideas is something that keeps me (and probably director Hough) awake at night.

This isn't a straight-on comedy by a long shot. It's a quirky character study that will make everyone in the audience laugh at different places.

Among the finest films made in the Middle East. This small, subtle gem offers a vivid portrait of life in the Israeli-occupied Palestinian territories, presenting its message with an intelligence and vibrancy that celebrates the human spirit in an environment where humanity is routinely crushed and assaulted.

A mesmerizing documentary that shows the vulnerability -– and brutality -– that emerge when one is showered in recognition, only to have such fame pulled out from under him.

A movie so thoroughly cretinous the people who made it couldn't get even the punctuation in the title right.

While imperfect, it does provide an intriguing glimpse into a subculture, which many people will be surprised to learn, still exists.

This isn't a new spin on Bret Easton Ellis, it's more like a 90-minute "Saved By The Bell" episode with better music.

Visually imaginative and energetic.

Though it has many moments of sarcasm and humor, the overall tone, like the comics themselves, is a depressing one.

Open Range gets better the deeper you get into the story.

Grind is an answer to the question that has been on the minds of many this summer: “Is there anything worse than Gigli?” The answer to this question is a resounding “YES!”

The one thing that keeps this movie from being an instant classic is its tendency towards childishly goofy humor. I guess it all depends on how you like your funny.

Yumiko Shaku as Yuki is small, beautiful, and stunningly sexy while she plies her deadly skill like a dancer. Her self-assured poise and large expressive eyes say everything that the minimal dialogue doesn’t.

One of those guilty pleasures of the summer. It’s also one of those action movies that could have been ruined if Jerry Bruckheimer had taken charge of it.

Post-personality switch, the picture does come to life somewhat but proves a one trick pony.

This isn’t exploitation; this is a look at how things may have been with Harris and Klebold, and how something like this could easily happen again.

Though it has a tendency to leave characters undeveloped and storylines empty, the overall portrait is significant.

Winds up being enjoyable, even though the only character I really liked was the main one, played by David Paymer. Everyone else I wanted to whack in the ass with a tire iron.

Works because it pays tribute to these characters. I knew that American Wedding couldn’t be as funny as "American Pie 2" just as that film wasn’t as funny as "American Pie."

Has no story, no redeeming characters that anyone could care about, and the actors are all on autopilot, completely soaked with their own vanity.

The script’s extremely well written, the direction flawless, and the performances -- especially by the fantastic Joaquin Phoenix, gobsmacking.

Despite the bits that work brilliantly, the movie as a whole really only works as an experimental curiosity.

Not an incredible disappointment, but it could have used some more work in making us remain curious about these characters and what their next course of action would be.

There are no boring, expository sequences; no depressing, grown-up politics. Instead, Rodriguez gifts us with a kaleidoscope of energy and invention.

Even in the final battle over life and death, the only injury she suffers is a slight scratch on the face. It’s too much like a video game.

More than "Rocky" on a horse track. It's a moving story about people and how their lives intersect at just the right time. It's also a simple story about second chances.

This is the kind of film you can watch over and over again on several levels, especially as you mine the script for knowing jokes about the theatre (it's packed with them).

A nearly complete and total disaster.

An ambitious, smartly edited documentary epic by a pair of journalists who tenaciously followed their subjects over the course of seven years, the film is both intimate and sweeping.

A romance wrapped in a mystery wrapped in a tale of redemption or something like that. To be honest, I'm not sure what the film really is as far as a genre goes. One thing is for sure, it's a damn fine film.

Worthy of attention. Susman has put together a well-crafted, witty commentary on corporate culture and the deals all of us make with ourselves to come to terms with modern existence.

It may be the most winning, smile-inducing Hollywood action flick of the summer.

Rowan Atkinson's spy spoof is wildly uneven and yet, at times, nothing less than wildly entertaining.

Traverses between past and present, using archival material and computer techniques to paint a portrait of the effects of predatory mining practices on this small American town.

Small, amateurish Israeli feature.

Nighy is superb as usual in a much meatier role than even he usually gets. And Byrne makes her character far more three-dimensional than the shallow creature she could have been.

The filmmakers tried to give everyone a main storyline and ended up diluting everything. With so many characters, the film lost some focus.

An exciting time at the movies, where you don’t smell something burning and realize it’s your brain cells dying off. During the summer movie season, that’s rather hard to avoid. But this movie has avoided it and it’s time well spent.

Madame Sata may be based on real events, but it's certainly not a very pleasant introduction to Rio's bohemian scene, circa 1931. Nor is it a very pleasant movie to endure in its own right.

Has an underlying charm that drags its audience, kicking and screaming to have a good time.

This movie doesn’t cop out. It doesn’t go for fake, feel-good warm fuzzies, and it’s not for the faint of heart. Terminator 3 has guts. It has a LOT of guts. And it’s a rare thing for any movie – whether it’s a summer blockbuster or an indie arthouse flick – to have guts.

Not terribly engaging, but surprisingly moving.

Director Danny Boyle ("Trainspotting") has a terrific eye, so the film as a whole is very well directed, with clever camera work that builds the tension and actually jolts us out of our seats a few times.