This is nothing but an attempt to cash in on the success of “Gettysburg.”

Brimming with sincere intentions and a few interesting thoughts. It brings a rare sort of realism to the movie world.

Aspires to a backwoods North Carolina Woody Allen quality that it often comes close to achieving. But sadly it’s just never quite funny, touching or insightful enough.

For the most part, Gerry is a lot of self-indulgent baloney.

Scene after scene blends masterfully with the work of Ohwon’s paint brush, and the power of images and symbols reveal not only a great artist, but also a pivotal era in Korean history.

If you manage to sit through the whole film, don’t leave before the humorous tag in the credits.

Takes a while to get rolling, but builds fairly well once it finally does. Part of the problem, no doubt, is Shokrina's decision to have the dialogue rapidly alternate between English and (presumably) Persian, with subtitles. This is a highly disorienting distraction.

Only promised a few good fights, a lot of chuckles, and an easy way to kill a couple of hours. In today's Hollywood that's hard enough to deliver.

Call it a horror movie, a psychological thriller or a feminist splatterfest, but this sort of story is tough to get right. May gets it more than right.

It may have the melody, visage and basics of a Bollywood biggie, but truth be told, The Guru, despite it’s zest and lure, gives the far-off genus a bad wrap.

There are glimpses of a real actor struggling to get out of Pacino, although they are rare. It’s as if Pacino is dying to act, but he’s either too old or director Roger Donaldson just isn’t allowing him to do it.

I wasn’t much scared by anything in Final Destination 2 which is silly and illogical.

Offers a remarkable tribute to one of the few people who genuinely deserves to be known as a pioneer of filmmaking. In the genre of films about films, In the Mirror of Maya Deren is among the best.

If you’re looking for a compelling horror flick, don’t waste your time with Darkness Falls.

With his darker secrets hidden away, secrets that could have provided us with the final layers to this influential man, we’re left with an incomplete portrait of Bayard Rustin. But thanks to the documentary “Brother Outsider: The Life of Bayard Rustin,” we at least have that much. And for a man who’s as important and relatively unknown as Rustin was, an incomplete picture is far better than no picture at all.

Everything here is broad and very silly, but the offbeat foreign vibe keeps us intrigued, mostly because the film's sense of humor is so unusual and unexpected.

Gets off to a rocky start as you try to rationalize Lee’s place in the plot, but it soon has enough surprises and funny moments to keep you watching to the end.

The jokes are so tired and irritating in the film, I found myself anticipating the funny gags from the trailers because those were the only ones that were remotely humorous. In fact, I only laughed three times in the whole picture.

Run -- don’t walk -- from this film or you might end up watching a bad CGI character do a painful Dr. Evil impression.

Wonderfully effective, funny and yet horrific film.

Meticulous in its descriptions of well-intended individuals caught up in these ferocious waves of street crime.

Like a head on collision between some nice performances and a really stupid plot.

The best thing about The Slaughter Rule -- is that the film refuses to succumb to the temptation of a glorious Hollywood feel-good happy ending.

The ingredients were there for Confessions of a Dangerous Mind to become a cult classic, but the resulting film is a tedious Hollywood yawner.

Chicago is a failure, but that should not come as a surprise. Bob Fosse, who directed and choreographed the original 1975 Broadway production, was long baffled in making a film of the show and eventually gave up trying.

At the risk of being called an anti-Semite, I would like to propose a moratorium on Holocaust movies -- While it would be crass to discount the importance of the subject, at the same time one has to admit there is some degree of excess going on here.

Immerse yourself in two fantastic performers, a polished narrative (by Menno Meyjes) and a “could have happened” scenario. It plays all too real if you ask me.

McGrath's new film offers a treat for fans of Dickens and moviegoers who love to see a fairly large cast ham it up with delirious abandon.