It's undeniably fascinating, but you might want to take a shower after hanging out with this unsavory bunch.

Dramatically, the film is a shambles, with whiplash-inducing lurches in tone and pacing that make it seem as if portions were edited out of sequence.

Koechner tries hard, but ultimately scores few laughs except for when, like Ferrell, he bares his comically less than toned, fleshy body.

It's a tribute to this thoughtful, deeply poignant, splendidly executed film that we replay the conclusion in our minds long after the lights come on.

Ultimately, the film, for all its evident verisimilitude, never really demonstrates a compelling reason for being.

Rendition tackles the concern in a heavy-handed thriller with simplistic characters and manipulative story lines.

Paints itself into a corner, creating a static situation in which everyone is either stymied or wracked by indecision, leaving the movie free for its two male leads to wallow in self-pity, remorse and bad behavior.

An unstable mix of a tearjerker, junkie-recovery story and odd-couple pairing. The film marks the American debut of Danish filmmaker Susanne Bier, whose European films show a strong affinity for stories of human frailties and of families unraveling.

Somewhat original and amusing. But only somewhat.

O Jerusalem has the virtue of energy, but it suffers from superficiality, particularly with regard to the characterizations.

The elegant looking, nostalgic film is undermined by inadequate character development, amateurish acting and sentimental self-regard.

This autobiographical tale of a 10-year-old boy coping with his mother's severe illness boasts terrific performances from its three leads -- Joe Pantoliano, Marcia Gay Harden and young Devon Gearhart.

Poor writing, an indifferent production and sincere but often wooden acting make "Season" one big strikeout.

A deep, sweet-hearted study not only of one lonely character but also of the community that supports him.

Despite top-flight acting from Michael Caine and Jude Law, it loses its grip in the third act and let's the air out of what might have been a memorably gripping film.

A fascinating film even if it never completely pins him (Verges) down.

As has been previously demonstrated in the hugely successful Perry's stage, television and big-screen works, subtlety and tonal consistency are not his strong suits. Here, the mostly broadly drawn characters and situations on display quickly prove grating, with the film veering awkwardly between broad comedy and melodrama.

A more accomplished film than "Yards." Yet it will fail to satisfy police movie buffs, as procedures are de-emphasized, and the drama is too perfunctory and obvious.

No one will mistake director Alejandro Chomski's Feel the Noise for great drama. But there's an undeniable sweetness to the characters, the performers are highly appealing, and the music sizzles.

The ensemble cast members play well off one another, particularly Fan as the self-absorbed Bruce Lee wannabe and Lynn in the role of the monumentally ignorant casting director.

There is a fine idea for a romantic comedy in Jake Paltrow's The Good Night but the writer-director, in his debut feature, never develops it much beyond the idea stage.

Farrelly brothers films are looking better and better, but aren't nearly as funny as their grungy early films that hit with the stealth and vigor of guerrilla commandos. Maybe there is a kind of heartbreak here after all.

As with the Bourne films, Gilroy has a knack for creating strong characters and situations that resonate with tension. It may be formula, but the guy is a solid chemist as he crafts excellent set-ups and payoffs.

The film and the controversy should generate interest at the boxoffice, but it's more a story about media manipulation and parental responsibility than art.

The film plods along without a lot of excitement or inspiration.

Electrifying and alarming film.

Smart, visually appealing, and consistently engaging.

A true gift to fans of this important musician.