Moss -- in her first big role since "The Matrix" -- is the main reason to see Red Planet, a badly written and visually scenic space opus.

A bad movie about a great man.

A delight to the eye, ear, and mind

The result is fantasy that wafts away.

Glover and Bassett ground the film, in the flashbacks and in the body of the film, and lessen the riskiness of maintaining the play's theatricality.

Don't miss it.

Something rare: a mess of a movie that is somehow infectious, and infectious not despite the mess, but because of it.

At its core is a feminine realm (the beauty parlor) through which modern issues of alienation and casual-sex-as-a-drug are coupled with timeless questions about the natures of love and desire.

The worst thing you can accuse an unutterably bad movie of is sincerity.

By turns amusing, touching and horrifying, A Room For Romeo Brass is a film that defies expectation at every turn.

Doesn't have a lot to offer that hasn't been done better -- and worse -- in hundreds of ghetto-sink shoot-em-ups.

Hopefully, the next time around, Chadha's imagination will be in the service of not just excellent casting and directing, but a script to match those other cinematic components.

Ephron is still a director whose movies veer uncomfortably between the good -- make that adequate -- "You've Got Mail", the bad "This Is My Life" and the ugly Lucky Numbers. Pity.

It simultaneously wows you with the stark beauty of its images, a beauty that leads to another, related kind of truth that is equally crucial. It's not to be missed.

What keeps Stardom watchable is Arcand's droll humor.

For adults, the film will drag in spots, but it's filled with all those values you hope to instill in your children.

It's just another bad horror film with inadequate young actors chased around a big house by something.

What the film doesn't have, ironically, is a soul.

Undiluted Jackie Chan, not the watered-down stuff he's been doing stateside.

Don't be misled by claims that you've seen this one already. You haven't, and you should.

An odd, sweet and relatively innocuous little fairytale.

Spacey and company deserve better.

Altman is just as nastily misogynistic as ever.

God-awful.

It's a guy's film that doesn't just revel in testosterone, though -- it has a more purposeful agenda.

You'll feel moved and uplifted after watching this well-written, funny movie.

A clumsy and tone-deaf comedy.

An almost total waste of time.

The bleakness of the material ought to make Ratcatcher a depressing experience, yet Ramsay's power as an image-crafter transforms this grim universe.

A movie that keeps you wondering about its characters' true feelings and motives long after you've left the theater.

A sophomore writing-directing effort from former film critic Rod Lurie.

Sly, slick and slow.

An unassuming little film that packs a huge emotional and artistic punch.

More than a family saga, this is a family meditation.

A difficult, ambiguous film.

An assault on brain cells.

Infuriating on almost every conceivable level.

Delivers its humor with clockwork reliability.

Love it or hate it -- and I suspect, frankly, most people are going to hate it -- this is like no other film you've ever seen.

Silly in some parts, but sheer fun in most, Bootmen will get you wiggling in your seat with a big grin pasted on your face.

Kusama understands her subject intimately, and it shows.

A constant video rental for a community that aches to see itself as banal and generic.

This is a band that deserves better.

Simplistic and non-controversial, and thus is virtually guaranteed commercial success.

Beautiful is a mess, but not without interest.

Tight and quick-moving, the film scores its points and gets on with it.

A sweet, if slender, surprise.

If you've seen one "Scream" rip-off, you really have seen them all.

The visual fireworks and catchy score just underline the extreme superficiality of the material.

This is a film like no other this year, and on that grounds alone you should see it.

A decent, smart, well-acted film.

A terrible, tired piece of filmmaking.

It's a film in which nothing is at stake, that's safe and sentimental to the core.

Human Resources resonates because it restores the humanity to that dehumanizing title phrase.

Worth a look, even if it doesn't quite find the internal logic it seems to be searching for.

A heartfelt documentary.

The whole point is nothing more than the revelation that the terrain of suburbia is populated with damaged people inflicting damage on others. This is still news?

The plot is convoluted.

It gives the audience something serious to ponder. That's rare these days.

A mixed bag, all in all (casting Huey Lewis was not the best idea), but worth seeing.

You'll treasure this movie.

A tiny slice of bleak, black near-perfection.

I'm not sure how elaborately I could defend Pola X, but I loved watching it.

A terrific piece of neo-realistic filmmaking.

If you're already a huge fan of any of these artists, this film will be a lovefest. For all others, it's a mild diversion at best.

This fantasy-tinged romance leaves a distinctly bitter aftertaste.

A dismal new serial-killer thing.

Flawed at its very core.

We're forced to listen to misogynistic rantings devoid of wit, entertainment value, or even authenticity.

Authentic contemporary heroine.

Borderline incoherent.

Given the enormous praise, the film falls short.

Ambitious and perversely fascinating.

Enough pep in this picture to make it rise above teen-movie expectations.

There's nothing terribly wrong with the movie, but nothing terribly right about it either.

In many ways the indie equivalent of your average multiplex action picture: fun and forgettable.

Slick, polished to perfection, derivative and stripped of any of the real quirks or idiosyncrasies that make a romantic comedy fly.

A pleasant surprise that The Crew offers up the charms it does.

Fascinating noir, which will long be remembered for its extraordinary lead performance by Catherine Deneuve.

A fascinating portrayal.

A two-hour slice --of comedy pie.

Not quite Abbie.

What makes The Cell worth viewing at all is the carefully sculpted imagery.

Has its dull spots, and is unintentionally laugh-out-loud funny at times -- but isn't that what we expect?

Far from the worst film this summer, but it also doesn't rate strong enough to be a future video rental.

Hamstrung by a script that is too often smug, obvious and self-important.

Merely reconfigures the same predictable gross-out jokes, sentimental platitudes, and decorative sex that figure into half the screenplays in circulation.

A very small film, as they say in the movie business, but its stylish suspensefulness is nicely leavened by Connell's obvious, and welcome, love for his hapless characters.

When the film is sexy, it's truly sexy, assuming that you believe sexiness has something to do with the exploration of a connection between people.

There's a lost opportunity here.

Its series of quiet but moving realizations of the utter ubiquity of the Nazi horror in every single aspect of life, even something as hidden as a sexual sub-culture, is powerful indeed.

A crowd pleaser, but there's something a bit prim and pre-determined about its conclusions.

Coy, cutesy, sentimental, and shamelessly manipulative.

Director Gary Winick ("Sweet Nothing") ingeniously complements Draper's layered approach by modulating the film's energy in fascinating ways.

The problem is, director Robert Lee King has a hard time sustaining the aimed-for camp tone, and while there are a few well-spaced giggles to be had, the movie sputters more than it soars for most of its 95 minutes.

I really wish a younger man than Clint Eastwood had directed it.

An authentically spirited popcorn movie.

Maybe Kevin Bacon can use the Twinkie defense to explain Hollow Man.