Too strange and disjointed to attract much of an audience, but its astonishing visuals showcase a major new talent: first-time feature director and book illustrator Dave McKean.

The Astronaut Farmer stalls narratively in the third act, but rest assured it finally achieves liftoff. See it before it disappears into the ether.

There’s a fine horror film inside Tusk, but it’s only 20 minutes long. The rest is just blubber.

Unlike "Dirty Harry," this film doesn't particularly have an overt political ax to grind. But it thankfully strips away the veneer of glamour that Guy Ritchie and his imitators have applied to British crime films over the last decade or so.

The ugly, witless pair of clowns who flit through the movie are emblematic of everything that is wrong with this dull, monumentally pretentious mess.

Never really gets out of the starting gate.

Vastly superior to the small and independent films that have come out during the last six months.

Despite its treacly sentimentality, predictability and gutless evasiveness about the power of the church in 1950s Ireland, Evelyn manages to be an enjoyable piece of family entertainment.

It's depressing to see how far Herzog has fallen.

Bogdanich's film contends that the bombing of Yugoslavia by NATO in 1999 was the result of blunders by the West, and that the forces supported by the United States in Bosnia and Kosovo are allied with Osama bin Laden.

A fussy piece of schmaltz that makes you long for "Stand By Me," a vastly superior coming-of-age tale from King's pen.

Although the jokes aren't as consistently funny as those in "Lock, Stock," once again writer-director Ritchie demonstrates a deeply pleasurable combination of verbal flair and visual wit while conveying the genuine, intimidating hardness of the English working class and its love of language.

Silly and pointless film.

Gets off to a worthy start, but falls apart about halfway through.

An earnest undertaking that unfortunately plays like a trite Lifetime movie.

Screamers, one of the most bizarre documentaries you'll ever not see.

Eerie and utterly riveting.

Ironically, what's lacking in Howard's stark, often brutal, late 19th-century chase drama is emotional punch.

It has cult item stamped all over it, and fans of (severely) experimental cinema might see it as a revelation. Most others will find that watching this movie is like having your senses beaten with a rake.

Liberal Arts comes to us produced by Josh Radnor. Written by Josh Radnor. Starring Josh Radnor. Josh Radnor is much like Woody Allen, except for the talent.

A taut thriller, The Good Liar keeps you guessing ’til its explosive end. Director Bill Condon’s film is based on the novel by Nicholas Searle, and builds much in the same way a book does. You gotta get through the first 30 pages to become fully absorbed.

The movie is essentially a theater piece in which Nolan (Walker) is mostly alone on screen, making use of what he finds a la John McClane, but without the smart pacing or inventiveness of “Die Hard.”

A crock - a pandering epic that's as phony as it is condescending.

Surely, if Fey herself had written Baby Mama, this mild cross between "Baby Boom" and "The Odd Couple" would not be so crushingly predictable.

What kind of hellspawn might result if "Saw" bought a copy of "Let's Go: Europe" and went backpacking across Europe to have a one-night stand with Dracula? Something like Hostel.

Morgan Freeman and Diane Keaton have unexpectedly great chemistry in this warm and funny comedy.

Despite the generally talented cast of Anesthesia, its linked-lives format, which we’ve seen so many times before, is frustrating: Too much adds up to not quite enough.

The movie has enough big-city wickedness and merry cruelty to keep things skittering unpredictably.