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.

Takes a relatively easy route by bestowing happy endings on the principals, but at least it’s savvy enough to realize that showbiz isn’t all there is to life.

What the movie needs more than anything is a script. The story is very disappointing and near the end, things start to get weirder and weirder.

Classic adolescent coming-of-age tale.

Stunning newcomer Agnes Bruckner and indie vet David Strathairn star in this oft compelling yet eventually disappointing character study of a young girl's rise out of the doldrums of adolescent life.

Draws an unspoken parallel with, of all things, beauty pageants, complete with unnaturally driven kids and nervously supportive parents desperately trying not to appear too pushy.

Approaches the serial killer archetype in a tremendously unique way. It turns the old stand-bys on their ears and gives a fresh perspective on the genre.

There are enough twists and turns in the plot, with an underlying “Trust No One” theme to keep the audience guessing. Maybe not all the way to the end, but pretty darn close.

A painfully awful film.

The only complaint is that the plot ultimately tries to take over the character drama with twists, turns and some rather pointed preachiness. But at least it's fiercely smart about it. And Algrant's final shot is gorgeous.

An unusual tale about an often over-glorified era from our past, The Scoundrel's Wife exposes wartime America's sordid small town underbelly in a captivating, even entertaining manner.

As always, Don Cheadle is fantastic, but the film belongs to Joseph Gordon-Levitt.

This has the unmistakable feel of a vanity project about it, which makes it a little tough to take either Dillon or the film seriously.

It is films like this that make me think that if Mexico suddenly went to war with a superpower, and the Cancun area was nuked into oblivion during a spring break weekend, that the world might actually be a better place.

Amazingly realistic and engaging drama about society punctuated with both humor and grittiness.

Overall, there is a lot of flip-flopping between stories, sometimes jumping back and forth more frantically than an episode of "Seinfeld."

The score is appropriately ethereal. From the Paris skyline to the Great Wall of China, the film's locales on every continent are rarely less than breathtaking. Calling the camerawork stunning, of course, is an understatement.

It’s a film that walks a fine-line between serious superhero flick and slapstick, giving the audience a conglomerate of great martial arts moments intertwined with some very funny dialogue and impetus.

Beautifully produced but emotionally vacant drama.

There are no sacred cows in A Mighty Wind. Even beloved public television is skewered by Guest and Co. In a lot of ways, this movie pokes the most fun at the average PBS liberal who refuses to let go of the 1960s.

The film wants to be a revealing character study of aimless Hollywood wannabes, but the story is just not compelling enough to make the viewer care.

As with many films nowadays, the supporting cast actually shines more than the principles.

It may appear clichéd in the telling, but Chick has no use for the glib irony and rampant pop-culture sampling which has already dated "Reality Bites" and its ilk.

A rare high school dramedy with some heft to it. Smartly photographed and edited, it manages to walk the difficult tightrope strung between the typically loopy coming of age film and a simmering disaster in the making.

Part of what makes this film a must-see for Titanic fans is that it truly puts you closer to the wreckage than anyone else can get.

Rips off so many splatter movie tricks at once that it becomes totally frustrating.

It is clear from the film's onset that Griffin is striking a chord with his audience: They love him and, in return, he relishes their laughter.

The performances from the film's three stars are all top-notch.

Good news is that most of the marvelous English dialogue cast from the Cowboy Bebop series has returned for the film. The bad news is that the heart and soul of the series hasn’t.

This is a very simple story, but it builds beautifully to an endearing and witty romance.

While this is far from an avant-garde, ingenious flick, it uses a dependable formula that’ll definitely deliver.

It spends little time on exposition, instead quickly getting into the thrust of the movie. For a film like this, it’s advantageous, grabbing the audience almost immediately after the opening credits.

Diesel is good in the movie. He gets to dance, cry, romanticise…things we’ve rarely see him do in other movies. There are actually hints of a real actor there.

Nolte looks like a man with one foot in the grave and nothing to lose. He single-handedly rescues this caper flick from its own mediocre storyline.

Decent in its special effects and has the advantage of having Hilary Swank and Aaron Eckhart in it.

With its clumsy storytelling and lack of someone to filter Duvall's gushiness about the subject matter, Assassination Tango winds up shooting itself in its own dancing feet.

Travolta’s performance in Basic is irritatingly familiar to his overacted, spastic performance in "The General’s Daughter." Either that, or he’s channeling Nicholas Cage from “Face Off” again.

After all is said and done, it seems like the jokes during the end credits are the tow truck of the movie, the engine quitting after the halfway point.

Even with its over-the-top performances, Gaudi Afternoon is an emotionally and intellectually subtle work.

Clearly a love letter to Paltrow, offering her plenty of moments to show off, but her acting is often flat and the self-adoration of the movie is almost too much to handle.

Much of Dreamcatcher just doesn’t make sense.

On the whole this is pretty standard shoot-‘em-up fare. Bang, crash, boom -- yawn.

Similar to one of those smutty 80s comedies, Boat Trip is a Farrelly brothers like gross-out with a homophobic entwine.

It's in the characters that the film works beautifully, right up to the clever and tender final sequence.

One thing that separates undie from indie is bad acting. Bring it on! There are some stinky performances here, and stinky moments in the script. Great! If it don't stink it ain't punk rock. I'd rather dig the tunes and remember deadpan deliveries.

I'm sure the filmmaker would disagree, but, honestly, I don't see the point. It's a visual Rorschach test and I must have failed.

Highly entertaining film.

Willard doesn’t try to be great art (although if you really think about it, there are plenty of themes borrowed from “Hamlet,” “The Birds” and “Frankenstein” to name a few). Willard just is.

Fast-paced, at times even a bit frantic, Under the Skin of the City is above all a mother-and-son story.

The bottom line is the movie's a mess. Friedkin would like one to believe there's more than meets the eye to his tale of two trackers.

While this film offers plenty of laughs and a cool soundtrack, it also tiptoes around complex subjects of social change and inter-racial relations.

Fans of prison flicks would do better to catch the HBO series "Oz" or the five millionth rebroadcast of "The Shawshank Redemption."

Aside from a few routine battle scenes, the movie's action consists mostly of people slogging slowly through non-stop rain. This is not interesting, much less exciting. The dialogue is hokey hero blather.

The movie gives us lovingly shot landscapes, portraits of extraordinary friendships, a great score, dialogue that only occasionally slips into history lessons, a number of memorably etched minor characters, a splendid performance by its youngest star and two mysteries.

Rife with predictability and lacking any originality whatsoever, the lackluster Laurel Canyon demonstrates about as much depth as one of Ian's pop songs.

Hits an edginess that will keep today’s audiences laughing.

Let me set the record straight: Gaspar Noé is the real deal. Is he excessive? Yes. Manipulative? Sure. Pretentious? Absolutely. But, he’s also one of the most exciting filmmakers on the planet.

The biggest strength of Cradle 2 the Grave is that it doesn’t take itself too seriously.

About as funny as a funeral.

It’s shocking how much Dark Blue hates cops.

The love story that is supposed to drive the film fails to ignite a single spark--and, hence, the film fails to generate a single iota of interest from the viewer.

Will Ferrell is a fearless comedian, and he commits completely to his insanity in the film, and that makes it work.

The film doesn't have anything but bad news for Spacey fans anxious for the actor to break a stinky streak.

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.

Proved that cheerless, existentially unflinching literature can provide the basis for exhilarating cinema.

We aren't talking Oscar here. We're talking truly fine performances and an unexpectedly hep John Williams score. We are talking a story that rollicks with the most rollicking of them. Not great cinema; just a great time at the movies and certainly a film well worth catching if you can.

Patric and Liotta are as tense and great as they've ever been.

This is a spacious, robust movie that grabs hold of us and doesn't let go for nearly three hours.

This is the film that "Shine" and A Beautiful Mind could not be, a story about schizophrenia that doesn’t neatly resolve its complex subject matter.

A competently calibrated feel-good machine. It's as effective as anything on The Lifetime Channel. Which is likely where this project would have wound up were it not for the involvement of Washington.

One of Spike Lee's greatest films -- seamlessly merging personal drama against a canvas of larger social significance on a level worthy of "Do the Right Thing."

There’s no question here that moviegoers will be treated to a completely enveloping, three-hour vacation from reality.

This is by the books in every way, funny and undemanding ... and also rather sweet and heartwarming.

This movie is a 21st century take on the tired switched-persons genre, with predictable and obvious gag-inducing results.

This is where Payne shines. Schmidt’s Winnebago journey through America’s heartland is more like a personal voyage into his Heart of Darkness.

This film takes chances and is abundant with style, seeming to pick-up where "Brown Sugar" left off, introducing editing conventions not normally accustomed to African-American film.

Devilishly clever and boasting a killer finale, Intacto is this year's "Memento" -- only Spanish.

The humor is not as hackneyed as in previous films.

About as much fun as a grouchy ayatollah in a cold mosque.

Empire is an entertaining, colorful, action-filled crime story with an intimate heart.

It used to be that the main allure of features was that they could deliver what cable couldn't, but now it's the other way around and one of the biggest problems with Analyze That is that it doesn't show us anything new or really funny, certainly nothing that we can't get on HBO.

If you want pure, undiluted, 100% guaranteed entertainment, Soap Girl is the film to enjoy. This film is a wonderful work of fun, with a marvelous ensemble cast who have more energy, sex-appeal and charm than any group to strut and vamp across the camera in recent memory.

Ends up feeling like just another uneven British crime drama.

Infinitely impractical, consistently unique and vastly imaginative.

Since Equilibrium shamelessly rips off every Orwellian science fiction thriller in film history, what other reason is there besides sheer desperation for the film to be so stupidly violent?

Little more than a travelogue designed to show off the grandeur of the Hermitage, with the silly actors in fancy costumes getting in the way of the paintings and sculptures on display.

The performances of young Sampi, Monaghan and Sansbury are amazing. They’re immersing and compelling.

It's an entirely different animal from Tarkovsky's hypnotic but opaque take, and it's an entirely different animal from most studio product in general -- Soderbergh's Solaris is a gorgeous and deceptively minimalist cinematic tone poem.

While it does deliver some good jolts, it never quite cranks up the terror.

The real-deal, packed with more excitement, vigor and fortitude than an unfaltering Magnum.

If you can’t laugh at stuff like this, there are still a few days left in the theatrical run of “Santa Clause 2”. I hear the reindeer are horny as hell.

It feels strangely slight for Almodovar, but there's a richness that draws us in -- There's so much going on beneath the surface that you can hardly take it all in.

As a piece of acting, The Quiet American represents a fitting capper to Caine’s illustrious career; his portrait of a jaded sybarite whom history nudges into conscientious action is among the year’s most moving.

An intensely moving and oftentimes haunting film; a compelling look at the unique life paths of three totally different women.

There are flashes of honest insight lurking under the film's rough, uneven surface.

With “Chamber of Secrets,” all we get is a f____ "Scooby Doo" episode. Boo on everyone involved...BOOOOOOOO!

It’s not hard to see why The Way Home has become such a hit in its native South Korea. The story is a plaintive moral tale, adding the requisite doses of humour and sentimentality where it’s required.

Ararat isn't a great film because it's too convoluted and personal at times, but it's a showcase of technical mastery; the way Egoyan interweaves the stories of the historical recreation, the relationship between the son and his stepsister and the mystery of the art historian's dead husbands, is endlessly compelling.

Half Past Dead would’ve been a bad film without Seagal anyways, but he fails long before any of the other parts do.

The film has brief flashes of believability and humor. By and large, though, the script is uninspired, the picture's characters are stick figures, its dialogue is lackluster and the star's performance seldom rises above the adequate.

Once again, though -- almost in spite of Haynes' rigorous post-ironic efforts to bring Sirk back from the dead in any and every way he can -- it ultimately comes down to Moore -- and Moore is simply...wonderful.

Rebecca Romijn-Stamos is just plain HOT in this film and other than that...we got ourselves a stinker.

It is a great character study that ranks with Paul Thomas Anderson's epic "Magnolia."

A moving and stark reminder that the casualties of war reach much further than we imagine.

Dreadful.

No less than four screenwriters are credited, yet the script is filled with the usual clichés (hello, red digital readout!) and supposed twists that can be seen a mile away.

Moves at a smooth and steady pace, so much so that it’s hypnotic. The characters and performances in this film are also very calm, providing a soothing experience.

The kind of film that requires a lot of work and patience on behalf of the viewer, not to mention a willingness to set aside prejudices and the fear inherent when we meet people different from us. As such, while you may not necessarily like By Hook or By Crook, you won't forget it, either.

Frida favors us with plenty of color, a feast of eye candy. As food for the soul, however...there are always her paintings.

Neither a stimulating satire nor a serious exposure of the operations of the finance industry.

One of the funniest films I’ve seen all year.

It's a remarkable film; the dialogue takes our breath away with its sharp skewering of expectations and realities, the bleak honesty is balanced by the freshness of real life and moments of raw truth and comedy -- Don't miss it.

Even if you have no idea what French philosopher Jacques Derrida's theories are about, allow your mind the chance to be teased and twisted by the unique new documentary.

One of those films where, even though you're pretty sure you know where it's going, it's still fun to get there.

Sure it’s brainless fun, but Formula 51 is a trip well worth taking.

Sadly, Naqoyqatsi quickly degenerates into a monotonous skein of banal images which strangely reinforces the message that we're living in a damn dull society.

Dark, disturbing and original throughout. You know that you’re going to see something a little different than your usual studio crap.

Perhaps it is a shame that no one thought of digitally restoring and theatrically releasing the sex videos that Crane made with the many women he pleasured...that would have been far more entertaining than anything found in Auto Focus.

Another unworthy follow-up to the modestly scary and well-crafted, Clive Barker-directed Hellraiser from 1987. Therefore with Hellrasier 6, lots of confusion and silly slasher joke writing is raised, but not much hell, in any sixth sense of the word.

The plot is romantic comedy boilerplate from start to finish and, with the story's outcome a foregone conclusion, the least the director could have done is throw in a bit of cultural enlightenment to keep the audience occupied while he connects the dots.

By turns infuriating, charming, wistful and annoying, Kwik Stop winds up a touching, if frustrating film.

The big screen has a very difficult time capturing the talent of James Van Der Beek - literally. The aspect ratio of projected film simply cannot accommodate the full breadth of his enormous melon head.

It’s a welcome addition to the national debate, which while not always on the money, is consistently thoughtful, smart and thoroughly satisfying.

It certainly didn't take long for Madonna to ruin husband Guy Ritchie's career.

All the household changes give the film an episodic quality that leads to a certain start-and-stop dramatic momentum. But fresh face Lohman holds the film together emotionally, more than matching up to the bigger name stars that turn up in supporting roles.

It works because of Anderson's ability to challenge viewer expectations. Instead of making his principal actors change, he manipulates the story and dialogue to match their characters. His exquisite art-house camera shots and sense of pacing set Sandler up to do his usual thing in an almost poetic manner.

The result is a mature, graceful and extraordinary accomplishment.

Maybe How to Draw a Bunny itself is really Ray Johnson's final testament, created with a mischievous wink from beyond the grave. After watching this extraordinary documentary, one has no doubt that such an act is well within Johnson's creative powers.

A gripping experience, and often downright sickening.

The only downside to this delectable third course? The regrettable likelihood that Lecter fans will have to make do without dessert.

An extraordinary achievement on all possible levels.

The supporting characters suffer from excruciating one dimensionality since none of them really have anything to do but look forlorn and opine about days past.

Smart and full of sharply drawn characters and wonderfully snappy dialogue.

Perhaps that's what makes thus such a compelling documentary; it will grip even viewers who aren't interested in rap, as it cuts to the heart of American society in an unnerving way.

Goes south early and its director never comes close to turning things around.

An emotionally honest film, but it would have been far more affecting if it felt more true to life.

Eisenstadt does an excellent job bringing the story of an ambitious young woman setting out to fulfill a dream full circle.

The resulting concoction is a cinematic elixir that disappoints, no matter how much hypnosis one is under.

The first half of Luis (Angel Eyes) Mandoki's new thriller is as whiteknuckle, nerve-wracking as they come. The second is such a mishmash of overblown action and gaping plotholes, it's hard to believe it's the work of the same director.

There's a fine line between inspiration and manipulation, and from its first frame, Joshua crosses it and never looks back.

A bizarre flick. It moves a little apprehensively between comedy, drama and then, erotic romance, with the central players' excellent performances (especially newcomer Gyllenhaal) suffering because of the film’s indecisions.

There are some realistic, scary themes at work here that make it worth a look.

It's funny, sassy and enjoyable, even though the screenplay is rather weak.

One of those films that makes you walk out muttering dark things about the future of the human race.

The art direction and costumes are gorgeous and finely detailed, and Kurys' direction is clever and insightful. Even so, it feels very, very long.

Much like how its employees and patrons don't want to see the barbershop close, once one has become acquainted with these people and this place, one may not want Barbershop to end.

Particularly wrenching in its depiction of the father-son relationship.

After watching this movie, you get the feeling that there’s a lot of people at Harvard who’ve done worse things than rob a bank to get in.

A pleasant enough little film. Jerry isn’t what one would call a sympathetic figure, but you find yourself cheering for him anyway.

The saccharine conclusion would be problematic in any film, but given how much talent is involved, it's especially disappointing here.

Doesn't even reach the campy, trashy highs (or should I say "lows"?) of "The Crush."

It would be nearly impossible to make a totally bad documentary about the festival, but I have yet to see the perfect documentary depiction of Burning Man.

Believe it or not, most of the empathy here is with Wand Jean's legal team. Yes, the lawyers.

So ham-handed and relentlessly overbaked that it is easy to see why audiences initially stayed away from it. Just when and how did anyone come to see this as a classic?

I feel guilty and somehow unclean. And all I did was watch it.

Falls apart with the slightest nudge -- of thought, that is.

The facts and ideas presented within definitely make a strong case for something whacky going on out there that's far beyond our control.

The increasingly creepy plot is counter balanced by a genuinely tender romance, which makes the film impossible to categorise, and will no doubt limit it to obscure arthouses and cinephiles who have very strong stomachs. They won't be disappointed.

Will strike a chord with people having mid-life love crises. Maybe for them, this film will stand as a sign that love is out there and it will prevail. As any other type of audience goes, I don’t think they’ll find that this love works.

Recycles a great many motifs from "Truman" but never comes close to putting on as good a show.

More of a curio than a classic and it takes the strongest of constitutions to endure this film without entertaining notions of matricide

If this is the direction Williams is headed in his career, fantastic. For auteur Romanek, it was at least a good first try.

I'm sure that an interesting film could easily be made about girl surfers, this just ain't it.

Ultimately comes off as so restrained as to be detached and almost as chilly as LaBute's darker films -- not exactly what one would want from a story about a love so strong that it echoes through the ages.

Simply a two-hour rave, an acidic, ecstatic trip through the not-too-distant past in a world called Manchester.

Unlikely but winning farce.

There's a lot of goofy spy game crap going on, peppered with lesser quality action sequences. Ugh. I'm just so depressed and disappointed right now. I need a shoulder to cry on.

While many questions and motivations are left unanswered, overall the film wins out with it's stark truths and slightly twisted pay off's along the way.

Rodriguez knows kids. No doubt kids will be clamoring to get acquainted with Spy Kids 2, the best sequel to emerge from a children’s franchise in the past several years.

It's disappointing that he (Soderbergh) couldn't make something more cohesive out of his admirable experiment.

Makes a good chick flick for guys who want to appear artsy by taking their date to a foreign language film. Just remember: front row...and don't forget the aspirin.

Shyamalan’s film blends together elements of humanity, faith, drama, tears, tension, terror, humour and the supernatural and succeeds in being one of the sharpest and most exciting films of the year.

Rare vehicle which gives the Palestinian people (rather than their failed, double-talking leadership) an opportunity to speak freely and openly, and that feat in itself makes this one of the most important documentaries of recent times.

I've already seen at least 20 documentaries this year. They've left me amused, sad, informed, bored, pissed-off, whatever. I'm willing to bet, though, that I don't see another this year as richly entertaining or as cathartic as The Kid Stays in the Picture. Is it really that good? You better believe it.

In 30 years’ time it might seem as incisive a document of its time as, say, “Don’t Look Back” or “Gimme Shelter.” As a study of how the current corporate idiocy impacts one man’s art, it’s priceless.

Yes, there is a very palpable lesbian erotic undercurrent pervading this film. However, the reason it's so palpable is because it's so subtly and deftly handled...AND it's only one thread of the film's storyline.

It makes no sense, but then again neither does much of anything in The Country Bears.

Not since the heyday of Fellini, I dare say, has there been such a merrygoround of a movie.

This delicately observed story, deeply felt and masterfully stylized, is a triumph for its maverick director.

Basically more of the same, and depending on who you are, that's either an encouraging statement or a warning.

A cold war thriller told from the Russian point of view which gives it the appearance of having more credibility and dark truth than if this were an American story.

Not a film that will change your life. It instead proves that shooting your movie with cheap technology doesn't mean it can't be fun or entertaining. In the end, that's enough.

This movie stunk so much you’d think that there were barking spiders in the theater.

Crikey, what a croc o’ shit! But hey, at least the title of this film lets you know exactly where it's heading. So as painful as this movie is to watch, if you willingly buy a ticket, you’re only doing it to yourself.

Medem's astonishing, magical-realist love story Sex and Lucía is easily the best Spanish film since "All About My Mother." But such a statement actually undersells the beauty of what Medem has created, which in many ways rather defies description.

Surprisingly lifeless monster movie.

I'm not sure Sam Mendes' latest is a masterpiece as so many critics are exclaiming but it is very probably the most artful and earnest drama ever adapted from a comic book.

After half a century, does the story hold up? Eh, pretty much. In the end, the story doesn't really matter that much as this is really a vehicle for the amazing visuals.

After almost twenty five years, the Halloween series has been reduced to a false alarm. ...the characters are so devoid of human feeling they accomplish the task of making us not wish they were dead, but just gone.

By turns touching, raucously amusing, uncomfortable, and, yes, even sexy, Never Again is a welcome and heartwarming addition to the romantic comedy genre; a pleasant surprise of a film that delivers so much more than its description leads one to expect.

Never less than clever and often digs down into some uncomfortable realities about the strange lives of that odd species known as “movie people.”

Being released at the same time that Bowie's latest album "Heathen" is being unveiled. Bowie fans who need a reason to celebrate the trajectory of the artist's career can make use of this cinematic Alpha and CD Omega.

I just found it really difficult to follow – not completely believing the motivations of certain characters, nor how some characters would just completely vanish, seemingly without a trace. This film made my head hurt.

Not enough to hold the audience's interest, especially with such shallow simpletons as these two women in the leads.

As we toss around words such as "dark," "stylish," "brooding," and "tragic" along the road to perdition, I recommend a three and a half hour pit stop in 1950s Milan.

Hey, I'm not saying it's bad. It's kind of entertaining, what I can recall of it after two days. It's, uh, okay. Just okay, though.

There's no excuse to come within a hundred feet of a screen playing this monstrosity of a movie.

May be formulaic but never fails to find other ways to entertain.

Raw, irreverent and uncompromising, Cho transforms her life into a form of performance art like no other.

In this era of fluffy, big-budget Hollywood "chick flicks", it's pretty refreshing to find a film that genuinely deals with women, family, self-image and survival.

An astonishing mess.

This is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party.

Not that the lackluster love story will matter any to the Sandler faithful, who are there to see the star beat people up and work his regular joe mojo on snooty types; those viewers will certainly get their fill and then some.

It rebounds in the last moments and I thought successfully blended satire, high camp and yet another sexual taboo into a really funny movie.