Isn't quite as boring as it sounds, thanks to writer/director Steve Conrad's strong script and decent performances by John C. Reilly and Seann William Scott.

A smart, funny and edifying documentary.

The result is a comedy that's low budget in all the right ways - so hilarious, testosterone-charged and yet cringe-inducing to watch that the result is almost exhausting.

An unbroken flow of sad or nasty incidents.

The best American movie about women so far this year, and probably the best that will be made this year.

Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.

The movie's one flaw is this: The whole movie hangs on the gradual unraveling of the central mystery and is made with the expectation that the audience is fascinated and hanging on every tidbit.

At its best, Gordon's work is bracing and pointed, though it's not for the queasy.

You can be 100 percent in favor of rescuing adorable orphans from war-torn zones and still find The Children of Huang Shi a tough haul.

Misfires so severely that even the clever details get obliterated in the resulting mess.

Not only less than horrible, but actually occasionally enjoyable.

The movie moves. It has action sequences that are so enormous that they won't just wow audiences, but rock them back in their seats and make them laugh at the audacity of it all.

The experience of seeing this film is cumulative, sober and profound.

Often fascinating and provocative, although, as a film, it feels a bit long and somewhat repetitive.

Exactly one minute longer than its predecessor, but it's a dragged-out exercise, with no epic scale and no spirit worth talking about.

Reprise has a smart and knowing script and will compel audiences to reflect on themselves at that age.

Unfortunately the movie is also a bit too long, and for long stretches it's about as entertaining as, well, a long stretch. Still, if this were one of those movie-review TV shows, I'd have to give Lion's Den a (tiny) thumb's up, for its aura of authenticity and for the ferocity of Gusman's commitment.

If this action extravaganza represents the future of movies, it's going to be a sad, dead and awful future.

It's an achingly beautiful movie and a triumph of location scouting, with more cosmopolitan spectacle than the past three Indiana Jones and James Bond movies combined.

A giddy French comedy.

Presents an almost fawning portrait of the doctor-turned-surfer.

Who wants to spend a minute on the Strip with the chance that there might be people as annoying as the characters played by Cameron Diaz and Ashton Kutcher walking around?

An action sci-fi blockbuster extravaganza that provides cartoon thrills for thinking people. It's the best movie of its kind since the second "Spider-Man" movie four years ago.

A subtly rich performance by Dillane and a fine supporting cast make this Holocaust drama worth seeing, even if you don't think you can bear another one.

This is a story that should have been, at the absolute most, 20 minutes long.

As a work of entertainment, as a cohesive narrative and as an artistic whole, there's no way to call it anything but an on-balance average effort. Yet there's nothing remotely average about the movie's warm spirit, its imaginative and arresting cinematography or its handful of unique, brilliant scenes and shrewd, bizarre performances.

Entertaining in a pulpy kind of way, like the fight films of the 1930s and '40s, and more accessible than most of Mamet's movies.

If it happens to hit you right - that is, if you happen to catch its wavelength of tear-and-a-smile whimsicality - the movie will speak to you.