This fictionalized, frequently stomach-churning biography of Australian criminal Mark Chopper Read features the most bloody ear-severing scene since "Reservoir Dogs."

The cast is largely nonprofessional, and the story has the simplicity of myth.

It's a shame that Jeepers Creepers cops out -- as American genre movies have been doing for years -- and plays it safe with an F/X-heavy creature that no one would believe in a thousand years.

A modestly entertaining ride.

The naked, artless display of nerve and rebellious bile is altogether unique in modern movies.

This bed-swapping crime story is ultimately too protracted, but Piñeyro's direction is richly atmospheric, full of noir shadows and strong period detail.

The wrap-up's pretty charming, as are the performances, but the film's too heavy for its soufflé-ready ingredients.

Plays like "The Honeymooners" might have if Ralph Kramden were from Pakistan, but with less laughs and more ignorant spite.

All of the interviewees are compelling, whether proudly showing off bruises and bullet holes from on-the-job scuffles, or voicing their opinions about how the profession has changed.

While An Everlasting Piece is rife with engaging family moments and an undeniable charm, it never allows its characters to find the very thing they're seeking: peace.

Born Romantic feels less like it was born than assembled, in a kooky Britcom factory. It's no "Four Weddings and a Funeral," but it's certainly a happier conception than last month's "Maybe Baby."

Murphy's second outing as the M.D. who talks to the animals is surprisingly engaging.

But it's Lopez's movie, and its limitations are hers: Both actress and movie tackle emotional turmoil with a minimum of insight.

The watchability of Extreme Days can be mostly chalked up to Hannah's playful impulses -- and his cast's infectious camaraderie.

Good old-fashioned romantic entertainment, just restrained enough to skirt schmaltz.

Sunk by its own melodramatic falseness, and it stands as a well-meaning yet lacking tribute to a courageous man.

Hits the wall and runs off the rails. They should've stuck to shtick.

It's good enough, smart enough, and people will like it. It's also a high-concept cop-out, a convention-strangled genre movie that never zigs when your every instinct is screaming that it's about to zag.

It's Norton's movie, really, and he shines both as cocky Jack and as cerebral-palsied Brian.

Beautifully performed and filmed, but tiresomely schematic episodes like this one cause us to experience major sensory deprivation.

Billed cleverly as a comedy from the heart that goes for the throat. If only Brooks had had the guts to avoid the schmaltz.

Oh-so-tiresomely familiar.

Affectionately skewers the age of polyester pants.

An amiable but contrived bit of blarney.

A pleasant and surprisingly polished fish-out-of-water comedy.

Just isn't funny enough to sustain the lunacy.

The farce hits the fan, and you just wait for the thing to be over.

Engagingly silly sub-"Moonlighting"-style banter.