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.