Though frequently brutal and off-putting, Beautiful People is a must-see.

Aviva Kempner's utterly conventional documentary plays like a lost chapter from Ken Burns' "Baseball."

It's so plot heavy it never finds its nimble comic rhythm.

A classic Sundance résumé movie -- texturally interesting, bubbling with ideas, and as structurally predictable as a cardboard box.

Impeccably produced.

The movie is an experience, of a sort they had a name for in the '60s: bummer.

A pale imitation of the original Winnie the Pooh Disney shorts of the '60s, but a vast improvement on the current Pooh TV series and straight-to-tape specials.

Thanks to the first-time filmmaker's attention to character, Gun Shy is worth at least a shot at a matinee.

This grade-Z programmer is a painfully earnest, clichéd, amateurish waste of time.

Crawford's such a good-hearted guy, you can't help but want a cut from his clippers.

A cute, clichéd, coming-of-age comedy.

A watery cocktail of second-rate, Ab Fab-style bitchery and shameless schmaltz.

Flows like day-old cement.

There's nothing wrong with Down to You that a smart script and savvy direction couldn't cure.

This poor movie is like an abandoned car without plates: Nobody wants to admit it's theirs.

It plays out like an endless series of scenes we've seen before.

A chronic snore. My advice: Roll a fatty and re-rent the first one.

The good news is that they've resurrected a franchise with wonderful potential and may eventually grow bored enough of recapping past triumphs to take it in more daring directions.

Few other 1999 films are as filthy with tantalizing elements as Agnieszka Holland's The Third Miracle, and of those that come close, none other is as pointless, confused, or unsatisfying.

Lacks scope and doesn't resonate grandly as a portrait of an American underbelly like Morris' earlier works do. But it still packs a wallop.

Shelton attempts to fashion a kind of road movie-love triangle-sports flick. He fails on all three counts.

Invoking unpleasant memories of "Caligula" (only without the sex), Titus does no justice to Shakespeare.

"Trek"-heads will laugh hardest, but there are plenty of yuks for the uninitiated as well.

A near-perfect confection, a beautifully executed Hollywood all-you-can-eat salad bar of glamour, plot twists, breathtaking Mediterranean vistas, and jazz.

Crammed with interesting ideas, visuals, and people, but Stone buries it all in a s--tstorm of technique.

If Parker had aimed more at capturing the author's unique voice, and worried less about getting the details right, his movie might have been extraordinary as well.

Unsuccessfully attempts to fathom Kaufman's lunatic sensibilities, supplying scant psychological insight into what made the outrageous comic tick.

Hicks is far less interested in resolving dramatic conflicts than in framing shots.