What could have been Solondz's most complex and challenging film winds up being a bit on the flat side. Still, the life-forms skittering over its surface are fascinating to behold.

Rojas is played by Penélope Cruz, who's endearing enough, but still comes across coarse and irritating every time she attempts a role in English.

One-dimensional fluff piece.

Guaranteed to deliver more innovative eye candy and smarter fun-per-second than most of this summer's fare, and that one-two punch ought to knock you off your seat.

A rough-and-tumble magnum opus of digital filmmaking that thrillingly basks in the sick, slick, sexy and quick-witted excesses of its imaginatively mutant stylizations.

For the most part, what it aims to do-amuse and uplift-it does wonderfully.

One of those novelistic independent films more concerned with atmosphere and character than the particularities of narrative, where contemplating the backstory is more satisfying than anything we see.

Once the picture gets into Hollywood's bloodstream, it could well prove to be as influential as John Woo's 1989 crime thriller, "The Killer."

Silly, light fare made better by the over-the-top physical comedy of Bullock and King, but lacking the innate charm of the original.

The film's ambitiously eye-opening hypothesis, colorful characters, genuine compassion, and unexpected humor will make for a great vintage in years to come.

For a horror movie to work, it has to be ABOUT something.

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

Though Steamboy could have been smarter and more dramatically engineered, this razzle-dazzle ride won't disappoint if you just need to blow off a little you-know-what.

There's too much going on to take it all in. It's a shame, really. Robots boasts some of the most vibrant visual design ever captured on screen.

Blunderingly out-of-touch, star-studded embarrassment of a sequel.

As bad movies go, The Jacket belongs to a relatively rare but extremely intriguing/irritating genus.

Diesel valiantly but unsuccessfully tries to raise this inane bit of Mr. Mommery above its afternoon-special standing.

As preposterously awkward, naïve and contrived as this movie is, it's still a curious sort of pleasure to witness-especially the gospel singing scenes.

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.

Listen up, fanboys and enthusaiasts of sophisticated visual wizardry: this theological noir-horror actioner-a stand-alone, rapturous good time-craftily and accurately captures the straight-faced camp, wry wit and episodic structure of its source material.

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

As the phrase turns, it's better when things come off WITHOUT a hitch.

While brisk, informative, and entertaining, feels frustratingly sketchy.

It’s a waste.

A relatively harmless (and thankfully, not entirely laughless) trifle.

It’s tightly paced and confidently styled. These times call for more daring in our horror films, but for this weekend, this will do the trick.

As science gives way to science fiction, the movie loses its way, squandering time that might better be spent exploring the ocean's floor, where these alien life forms already among us must be seen to be believed.

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).