The film manages the rare trick of improving as it unrolls from the utterly putrid to the barely tolerable. And, friends, I wish to say that sometimes that is as good as you can hope for in this racket.

Tommy Wiseau's film oozes sincerity, which is then slathered in a thick coating of oblivious narcissism, and sadly serves as an example that not everyone should follow their bliss...It's the emotional earnestness that places The Room squarely within Susan Sontag's famous definition of pure camp.

The stories don't resonate, the film has a drab look and feel, and it lacks the passionate zing with which the least of Almodovar's works teems.

The performances are solid, and Juuso has a particular charisma. The actors do a commendable job of revealing unimagined layers to their initially one-note roles.

This film might've worked better as a comedy.

There's something refreshingly and truly girlish about the picture's musings and epiphanies that makes its R rating baffling.

The film wears out its welcome by the halfway mark, becoming a silly spectacle.

With the grounded performances, a pleasant look and feel and the brains to refrain from anything more than a quiet portrait of life, The Housekeeper makes for the sort of well-seasoned meal that's so refreshing in the summertime.

There's real craft here and a vision that's nothing if not unique.

Flawed though it may be, it's frequently an unaffected pleasure, in no small part because of Depp but also because of a raffish air that's a welcome respite from the heavy going of "The Matrix Reloaded," "The Hulk" and other behemoths.

As two-dimensional animation, Sinbad is passably attractive, reaching a visual height when it arrives in the surreal, shifting Tartarus.

In its own slightly disturbing way, this psychological thriller serves as an absorbing diversion without sapping brain cells -- almost the perfect summer movie for smart people.

Though there are some funny moments, little in "Red, White and Blonde" is enjoyable.

As an action film it roars forward with agreeable, transporting energy.

Combines spareness in plot and dialogue with luxurious, sensual technique in such a way that the craft sometimes overwhelms the slender story.

Cinematographer Anthony Dod Mantle, a veteran of low-tech Dogme films, work wonders with a digital camera, pausing to take in the beauty of the countryside or an eerily empty London…It's virtuosic without ever quite being showy.

You may strain to recall just what happened an hour after you see it, but there are so many worse things to have to remember in life. It's a relief to focus on something so attractively amusing.

You can't help but think how much better this film would be had Woody Allen directed it...How much more acerbic fun would it be to see Judy Davis playing stenographer to a neurotic, writer's-blocked Woody?

Though stilted and emotionally vacant at times, it's still an entertaining and absorbing experience.

Director Ang Lee displays enormous verve and flair. He creates ingenious transitions between scenes, deploying split-screens in a clever variation on comic book panels and, as ever, drawing coolly impassioned performances from the cast.

Has all the gross-out humor but none of the goofy sweetness. It also has neither of the Farrellys, which is agonizingly evident throughout.

Though The Hard Word feels flimsy at times, its breeziness and humor, along with Pearce's performance, make it infinitely more amusing than it's got any right to be. You get the feeling that these actors had fun making this film, and that fun is contagious.

A film of curiosities and asides, it deliberately eschews plot in favor of character quirk, which is fine in theory and even commendable. But the quirks are lame, the ultimate conflation of story lines is clumsy.

By a certain point The Heart of Me becomes pointlessly depressing and unlikable without offering insight.

The Coens have often been accused of coldness toward their characters, but the verve and wit of their films reveal genuine compassion and heart. Based on the evidence of this film, the Pangs aren't quite there yet.

The best thing about 2 Fast 2 Furious is Tyrese (terrific in Singleton's "Baby Boy"), whose charisma, looks and charm supply the picture with much-needed spark. It's too bad he's stuck in this spotty video game.

More than just a good crime story about the guilt or innocence of Arnold and Jesse Friedman. It's also a fascinating portrait of a seemingly normal middle-class family crumbling before our eyes.

Though moving, Together needed more opera to send us where great music frequently goes -- nearly over the edge.