It’s very colorful, for sure, but the dialogue is lead-footed at best.

Still, the film actually earns the description of being inspirational, not only to those of us with a dream, but to those who thought the quality family film had died long ago.

Howard’s inclination toward graphic, gruesome violence, reminiscent of Ransom’s grisly denouement, The Missing is, at its core, a story well-told and built upon the solid foundation of Blanchett’s supremely capable performance.

Depends on how you're feeling about Tom Cruise--as opposed to the character he's putatively playing.

An exhausting 90 minutes of SNL-centric mediocrity that gives one the nagging feeling that Tina Fey's inability to cut the cord is going to quickly start to cool interest in her upcoming projects.

The entertainingly unhinged Hostel reeks of kneeling reverence to the grisliest of psychotronica while simultaneously striving to out-gore and out-shock its predecessors.

Take it from someone who can still feel the hollow rubber tang! of old dodgeball scars: It feels great to be blindsided by a little movie like this.

A thin sprinkling of exuberance and a couple of choice cameos, that's about all this underwritten and overly choreographed spectacle has to tease us with.

An often highly amusing comedy in the vein of "Catch 22" and "Dr Strangelove," this lively satire looks destined for future cult status. Great soundtrack, too.

Lee’s use of split-screens and dynamic transitions makes the process of actively interpreting his monstrous vision a fresh and unrivaled experience.

To find a comparison for You Don't Mess With the Zohan in Adam Sandler's filmography, you have to go back to 2000's "Little Nicky," a film with a fantasy slant that allowed for jokes of unencumbered silliness.

With a cast of well-chosen actors, a good script, and an eye for making ordinary suburban scenes visually heartbreaking, director Steve Buscemi's small story of failure, depression-and ultimately, love-in one Indiana town rings painfully true-to-life.

Mortensen proves once again that he’s an able, even intuitive performer, more compelling speaking Lakota Sioux than many others in plain English.

Marshall's Memoirs achieves something few other high-profile literary adaptations do: Rather than simply inspiring us to hunt down the source material, it actually stands alone as a film, rich in drama and star-crossed romance.

Though Melinda is no masterpiece, it’s also an Allen film that requires almost zero special pleading.

Alll in all, however, Estevez has pulled together the best political drama, fiction or otherwise, in recent memory.

It's the stuff of not quite dreams, and it's rendered with such accuracy and hilarity that I am tempted to call Aqua Teen Hunger Force Colon Movie Film For Theaters the most successful full-on surrealist film since Bunuel and Dali's 1930 "L'Age d'Or."

The random and unpredictable nature makes it an extremely interesting film to watch.

The result is oddly schizoid, but also so insubstantial that to call it oddly schizoid suggests a weight it doesn't have.

The aptly-named Crash is played to a tee by West; in fact, his performance was so believable that he's currently on tour with the reformed Germs as the lead singer.

Strikingly shot with some wicked hand-held virtuousity, Assault is rivetingly suspenseful in how it toys with the morals of good guys flip-flopping to the dark side (and vice versa).

Most likely chosen for its shaggy-dog looks, Winn-Dixie is actually a great deal more special than you'd expect, a fitting analogy for a film no parent should be too quick to dismiss.

Vacancy could have been some sort of satirical masterpiece had this whole scenario been finally revealed as an extreme form of couple's therapy designed to get Beckinsale and Wilson back together.

Smushes together “The Bonfire of the Vanities” (the novel, that is), “True Believer,” and “Eyes Wide Shut,” only it does so without being nearly as good as any of the aforementioned.

The film, directed by "My Cousin Vinny's" Jonathan Lynn, is a fun movie which proves to be worth a look and a listen.

A charmless, vandalized version of a classic.

At its best though, the film offers a pointed critique of a youth culture that views someone like Jesse James Hollywood as a person to emulate.

What to make of it all? Hard to say. Just to take in the fact that its soundtrack is made up of music by both J. Spaceman and Sun City Girls is to understand that this is a picture that's divided against itself in a way that's perhaps too hermetic to be comprehended.