A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.

Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.

There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.

A grim experience, with too little wit and humor to compensate for its faults, and the upbeat ending feels like a cheat. Thornton is good, but not worth the price of a ticket.

Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.

Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."

Those familiar with the novel will undoubtedly agree that reading it is a more satisfying experience than watching this disappointing film. One expects more - much more, in fact - with a cast of this caliber.

Zero-star movies are a rare and terrifying breed - films that warrant recommendation only as an alternative to physical distress.

Jesus Camp is not a "hatchet job." The filmmakers did not go in with an anti-Christian agenda and use selective editing to prove their point.

What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.

The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.

The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.

Haggis' dialogue is virtually without clunkers, and it is delivered with the appropriate weight by a solid cast. Braff's limp performance is countered by Barrett's emotional riveting one (although he's in more scenes than she is).

Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format.

A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.

Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.

One could argue that Crank works best as a comedy. It's occasionally funny, and some times VERY funny.

LaBute has transformed the eerie, disturbing psychological thriller into an unintentional comedy. At times, The Wicker Man is hilariously bad.

Despite being a little rough around the edges (as is often the case with the work of maverick documentarians), This Film Is Not Yet Rated is more than just an angry diatribe against the MPAA.

Despite the best efforts of Barber the director, he never quite overcomes the shortcomings of Barber the writer.

How to Eat Fried Worms belongs to a vanishing breed - live action family films.

From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.

Overall this is a compelling and sometimes disturbing motion picture.

To an extent, Snakes on a Plane reminds me of "Eight Legged Freaks." It has the same kind of off-the-wall, don't-take-it-seriously comedic horror sensibility.

An infectious mix of romance, mystery, and magic.

After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.

Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.

It's not scary, it's not chilling, and it's not interesting.