The caper-movie touches and cocky self-awareness may wear thin, but you can't discount the importance, or the horror, of that footage.

I'll stick out my neck and say that Park Chan Wook's wildly gruesome Thirst is the most whacked-out version of an Emile Zola novel ever to reach the screen.

Nowhere near as bad as "Coneheads," but still isn't worth your time.

Ultimately, this is not one of the Dardennes' masterpieces. They've made a few of those, but the effect of Lorna's Silence is more modest. It leaves the audience with neither a sense of uplift nor devastation, but, rather, with something more akin to intellectual appreciation.

It's all very foul, and completely entertaining.

Though the material might lend itself to heavy-handedness, director Ole Christian Madsen is steady, and he gets fine performances from the two leads and Stengade.

It's the speed of love, not the speed of light, that occupies Adam, a small, sweet movie about one man's widening cosmos.

The language is brilliant, and the laugh lines come so quickly that you'd probably have to watch the movie twice to get them all.

A two-hour nervous breakdown.

Funny though it is - is it could have been a whole lot funnier.

A lot of resources went into making G-Force - a lot of talent, a lot of money, a lot of marketing - and there's not much to show for it, not even some halfway imaginative 3-D gimmickry.

A perfect example of an Intelligent Bad Movie.

The plot relies heavily on pat betrayal, forced coincidences - and the sort of closure that lands, with a thud, in a tidy package of cliches. Yet some of the humor is delicious.

An irresistible feel-good movie about love gone bad.

A harrowing story about the will to survive amid the most brutal conditions imaginable.

This film is the sharpest since "The Prisoner of Azkaban." It is the most emotionally satisfying, blending spot-on comedy and adenoidal sexual tension, with scenes of gutsy vulnerability.

The bad outweighs the good and the cringes outnumber the laughs in Brüno, a disappointment from Sacha Baron Cohen, whose "Borat" was one of the funniest movies of the decade.

Humpday succeeds, often beautifully, by grounding its risque premise in the awkwardness and humor of real people trying their damnedest to communicate. A lot.

If only the projectionist could be persuaded to play the first 10 minutes over and over for two hours, this might be a satisfying movie. Unfortunately, the middle and the end feature a weak lead character, choppy fight choreography, humorless dialogue and computer-generated effects that look as if they came from the "Ghostbusters II" era.

Isn't a terrible addition to the teen coming-of-age party movie catalog. It just feels dated.

As the record of a cultural event, Soul Power is a hit-and-miss affair.

Kempner once again educates and entertains with unexpected tidbits and just plain good old-fashioned filmmaking.

A notable, worthwhile picture.

A lively experience.

If Public Enemies lacks anything, it's something audiences can't legitimately expect to find: a certain EXTRA something.

Will satisfy its young fan base and is bound to make a ton of money. At this point, though, the series is no longer an artistic pursuit; it's a business deal.

This one enters the pantheon of great American war films.

Has a gutsy premise, but no guts.