If you like gore, this is the movie for you.

Dark, disturbing and audaciously original in a way only indies are given license to be anymore, the film never telegraphs where it's heading. But you don't need a pathfinder to sense the general direction is toward hell.

Except for an ending that's so implausible it might have derailed a less solid work, Twelve and Holding is a realistic and sympathetic portrayal of what it's like to be young and confused

Exciting and nerve-racking in the moment, but empty.

The picture gives us two protagonists and sets up a situation in which only one of them can have a decent life. Then, having devised this sour souffle, the screenwriters find no adjustment to make it palatable. The resolution is flip, at best.

Goal! hits the back of the net and is an early candidate for the funnest movie of the summer.

The tribute to an aging parent is moving and gives this routine comedy an extra something.

To label the parents in Wah-Wah dysfunctional doesn't adequately describe their wildly inappropriate behavior.

When Pollack admits that he is not a documentary filmmaker and that he knows nothing about architecture, Gehry says that makes him perfect for this project. But the joke does not redeem the frustration Pollack creates by the choppy, restless views he gives us of Gehry's buildings.

The smarter way to make this movie would have been to edit out everything extraneous to the story of Xavier and Wendy. They're the soul and heart of the movie, while everything else is pretty much dead weight.

In Mission: Impossible III, we find out whether it's still possible to look at Tom Cruise and not see a weirdo. The answer is yes, but a complicated yes, because it takes time.

Art School Confidential exudes confidence as long as it is satirizing a questionable, at least according to Clowes, institution of higher learning. But the film loses its way with multiple subplots, becoming a hodgepodge that isn't particularly hard to follow, but, far worse, provides no compelling reason to bother.

This is the type of movie that you should be getting for free on television.

Fun to watch although falling short of a real hoot, this latest in a barrage of family movies largely succeeds at keeping the kiddies entertained and their parents from nodding off.

In the end, it's really just a thriller, slower than most, with pockets of dead time but with a few extra flourishes, too, thanks to Norton.

A spellbinding Australian Western.

The across-the-board strong performances indicate a sure directorial hand. Everyone is made vivid, down to the smallest roles.

There's just nothing artful about it, and it's Greengrass who deserves the credit. These nonactors don't act the way most people do when playing themselves. They act the way people do when they're being themselves.

Much of the honest dialogue has the same feel as John Hughes' and Cameron Crowe's movies during their best years, while there's a half-serious hipness that recalls the first eight episodes of "The O.C."

Akeelah and the Bee connects where it counts most, on an emotional level. Only a curmudgeon could watch this feisty but vulnerable youngster rack up victories against all odds without tearing up.

RV is a horrible movie about horrible people, and just because they call it a comedy doesn't mean we have to play along.

It's surefire entertainment: loopy and predictable, but tremendously likable.

The story may be scattered and sagging and the picture may have little emotional impact -- certainly nothing to justify the epic running time -- but Garcia at least succeeds in making Havana in the 1950s seem like a vibrant, special place. He doesn't exactly make the audience care, but he does make the audience understand why he cares, and that's something.

Mehta has created the perfect guide to this strange female world.

Unlike the previous two installments, Lady Vengeance generates on odd feeling: hope.

Everything Melville shows us, he shows us for a reason, and these reasons are never obscure but are rather pertinent to the action and to the moral movement of the world and the characters.

A bizarre original from the bizarrely original director.

The movie is a stunner, so hypnotic that the length hardly matters.