Whatever it is, it's simultaneously on speed and Quaaludes; I don't know if any movie this profoundly insane has been seen in general release since Antonia Bird's Gold Rush cannibal comedy "Ravenous."

The Kingdom is distasteful in several obvious and irrefutable ways: For one thing, the idea of setting an action-thriller against terrorist activity that's all too close to real-life events is simply opportunistic and creepy.

A pleasingly disreputable trifle.

A memorable and outrageous movie, but one more likely to be remembered as a massive folly than a whopping success.

Tamahori's Die Another Day is an imperfect Bond movie. But for every patch where it's dull and lifeless or just plain stupid, there are also sections that are significantly different from anything we've seen before in a Bond movie.

That whole meta-biographical aspect doesn't bug me much because everybody who's ever written or directed a romantic comedy is drawing on their own emotional experience; this one's just a little more obvious about it.

I enjoyed every moment of this densely plotted final chapter, and most other fans will too.

A modest but agreeable, and often very funny, movie.

Fever Pitch lacks that Farrelly spark, that warm, crazy glint.

Kostic, a Bosnian actor who has done quite a bit of British film and TV, and the Sarajevo-born beauty Marjanovic make a combustible screen couple, and Jolie knows it. Despite the film's generally somber tone, there's more than a hint of "Night Porter"-style perversity to their relationship, which at different times is platonic, therapeutic and highly erotic.

Deschanel is great, with her feral eyes and Joey Ramone shag haircut, and Ferrell is fantastic. This one's worth the effort to find.

Whether he's getting hit in the face with a dildo or cozying up to Martha Stewart, Knoxville is always affable, playful and able coax a laugh out of an audience by doing ridiculous things. He's a jackass all right, but he's a jackass in shining armor.

Works neither as an exuberant rock 'n' roll picture nor as a heroic fable. It will rock you --straight to sleep.

The second movie by "Being John Malkovich" writer Charlie Kaufman is even weirder than his first.

With big Hollywood movies getting glossier and more mechanical, and indie movies increasingly mistaking drabness for seriousness, we need Waters' sub-B-movie aesthetic more now than ever.

Uneven as Capital is, unlike so many films about capitalism it’s never boring and is unafraid of its point of view.

That a movie can run on empty and still be so obscenely enjoyable is a pretty slick stunt in itself.

Million Dollar Arm is not just a Disney film, but a Disney film that could have been made, with minor elisions and different character names, in 1963.

His scattershot and ad hominem attacks against many different forms of religious hypocrisy don't add up to a coherent critique, and he's not qualified to provide one.

If there was ever a testament to the resilience of actors, in the face of a flawed script and wonky direction, The Family Stone is it.

Cretton did fictionalize parts of the story, adding dramatic embellishments and narrative tissue. But his greatest feat may have been telling the story in such a way that viewer doesn’t leave the theater going, “Oh, some of these stories are so extreme, they might be slight fictionalization.” They’re too consumed by the ride.

Beyond that educational element and the delicate performances of Dancy and Byrne, I found Adam dramatically limp, predictable and in a curious way even retrograde.

It's an exceptionally well-made example of the kind of delirious, semi-Gothic, overcooked melodrama filmmakers from the Boot have long specialized in.

I'll Sleep When I'm Dead has its problems: As beautifully made as it is, Hodges leaves some crucial portions of the story maddeningly unclear, particularly at the end.

A terrific comic-book movie, the most completely satisfying and unsettling one I've ever seen.

There are times when even a director's worst impulses aren't enough to sink a movie, and somehow Lords of Dogtown stays afloat, largely because many of its actors transcend Hardwicke's heavy-handed storytelling.

You have to give Leatherheads this much: It's like no other comedy, or movie, out there these days. Clooney, one of our few old-style Hollywood movie stars himself, obviously loves old-fashioned moviemaking.

The dirtiest-minded American movie in recent memory -- and an honestly corrupt entertaining picture is never anything to sneeze at.