Despite many interesting mise-en-scene moments, the film disappointingly feels as sterile as the family's immaculately clean house. In a sense, the movie is too ambitious.

Results in a film that's more exploitative than sympathetic. Compared to the works of fellow Francophone directors Catherine Briellat and Clare Denis, Doueiri's depiction of female sexuality in Lila Says is both wooden and pat.

Predictable yet passably entertaining.

Politically charged docu-drama is uneven but delivers powerful message.

Although The Reception boasts some moments of emotional truth, its small scale and claustrophobic atmosphere make it a tough sit despite its brief time.

Benjamin Brand's script never levels with a viewer.

It's unfortunate that a film designed to renew interest in Ulmer is this flat.

Even the art house crowd will find the film off-putting not only because of its vagueness but because of its thoroughly unlikable characters.

Every bit as vulgar, sophomoric and thoroughly tasteless as 1999's Deuce Bigalow: Male Gigolo. But what is most annoying is the sequel's capability of inducing laughter even as one hates oneself for so easily succumbing to the total silliness of it all.

If you take any of this seriously, you are not going to enjoy the movie very much. But as an absurd riff on baadasssss gangsta movies, Four Brothers has an undeniable visceral kick.

The film brings a spectacular but little-known chapter of World War II to the big screen with meticulous attention to period detail -- and almost none to compelling narrative.

Sticking to one joke in an unconscionably long film makes for a very stale, witless and repetitive comedy.

A love story that veers uneasily between mysticism and melodrama.

This ultra-violent revenge thriller is far more notable for its baroque excesses than coherence or credibility.

A wheel-spinner. The more the film stresses and strains to be funny, the unfunnier it gets.

Bram Stoker would be, well, horrified.

While all this might have made for a potent short subject, the abstract visual monotony begins to wear thin shortly into the 98-minute running time.

A Spanish-language black comedy with a frenetic style that plays out like regurgitated Tarantino and Guy Ritchie.

Derrickson's characters are reduced to ciphers in a theological debate. Long wedges of the film are simply a discussion about the relative merits of science and superstition. Carpenter, as the sick girl, puts in the best performance.

There's some nice low-key work amid the uneven performances, but the Montana-shot film's key strength is its sense of place.

Viewers hoping to understand the senseless phenomenon of football hooliganism would do better to rent Alan Clarke's nearly 20-year-old "The Firm."

Despite the updated setting and some on-the-money performances, the sleek if dramatically flimsy results make for a less than great "Gatsby."

There is something really nasty about this cold, calculating exercise in mob psychology and human venality.

A drab, minor-key melodrama.

Zeroes in on retail mania with a flimsy wire hanger of a premise.

While the juvenile performances are bright and engaging, and there's no shortage of genuinely humorous observations about love and life in the Big Apple, there's an inescapable small-screen dynamic to the scope and rhythm of the production.

Will primarily strike a chord with Latina-skewing audiences with minimal crossover potential.

A muddled melodrama about the shady and questionable though not quite illegal world of "sports advisers."