Too much of Alex & Emma is an overt attempt to recreate the lightning in a bottle Reiner achieved with “When Harry Met Sally.”

Folks read comics for enjoyment, not to admire how well the pictures are drawn, and the same axiom can be directed here with audiences likely to admire the work that’s gone into this film -- rather than joyously enjoying the film itself.

So now that I’ve seen one of “the master’s” films, I still can’t tell you what the appeal is. Pistol Opera is unique for sure, it just never made me want to follow it down its strange path.

Jesus Nebot pulls off the impossible task of not only being the writer, director, producer, and star of the film No Turning Back, but makes it all work into a satisfying and socially conscious film as well.

Sure, Dumb and Dumberer is dumb, dumber and dumberer than the original, but if you like that kind of banal, rustic and sophomoric humor (and I have to admit, I kinda do), it might be worth a buck or two at a discount theater.

Yup, Hollywood Homicide”rips off practically every cop movie out there. My god in heaven, did anyone making this film have an original thought in their lives?

With Manito's raw portrayal of its characters and stripped-down cinematography, the undercurrent of impending tragedy is palpable.

Not that there isn't a story at work here; there indeed is, but only just enough to sustain the action.

This Brazilian thriller blows a heck of a lot of hot air, but really doesn’t deliver on the ass-kickings it so threatens.

Proof that an old genre can still have life as long as filmmakers are willing to fill it with energy, humor and respect for the genre. Add cannibals and beautiful teenagers and you’ve got an entertaining horror film.

Heist movies seem pretty quaint and analog in our era where high stakes crime is primarily electronic in nature. But until someone can make embezzlement cinematically interesting, we’re left with theft and this movie just gets away with it.

After four Pixar features under their belts, it is painfully easy to see the clichés emerging.

Long before you buy your ticket to the new Jim Carrey film, you've already been doomed to disappointment. Several parties play a role in this. Interestingly, Jim Carrey isn't one of them.

As a whole, the film is perhaps a bit too gentle and meandering, but it's jammed full of superb moments.

Loaded with tons of personal stories told by both Johns (the two main members of They Might Be Giants) as well as people within the music industry.

Takashi knows how to make a great, sleazy Yakuza film, but what I’m missing here is that sense of something brand new.

What may have seemed energetic and innovative four decades ago is fairly enervated today, and only the most rabid Godard fanatics will find reason to seek out its new theatrical re-release.

Even the most learned moviegoer won't see where this story is going, and that's part of its charm. The characters have a depth to them that is rarely seen these days.

A mild but diverting farce about misperceptions involving gays and goombas.

A fun time and a must-see.

Not unlike its predecessor -– might be hard to swallow, but it’s so delicious you just can’t help but want more. Not unlike one of those gobstoppers you can find in any candy store -- Hard to chew, nice to endure, if you will.

A powerful no-frills drama. It's a film that never flinches from its colorful, if sometimes cruel namesake neighborhood and the people who populate it.

This film has so many chances to spice up the screen....and passes, I was wondering if I were watching an info-mercial for some kind of "K-Tel Classics- Revisted" album.

Down With Love has little to offer besides hip sixties references better films have already made and made infinitely more hip.

So well is this film made, written and acted that you’d have to be a pretty big hard ass not to get pulled into the hilarious and even touching exploits of Alan and Tommy as their lives take the most unpredictable of turns. Try it, you’ll like it!

For those who find that most “life-affirming’ films leave them nauseous and sometimes angry, Man on the Train is a miracle of genuine uplift working with two characters probably fated to die.

The cast is top-notch and I predict there will be plenty of female audience members drooling over Michael Idemoto as Michael.

Humorous yet subtle characters aid Malkovich in creating a film that is engaging and entertaining, while at the same time lumbering during long stretches.