In his second feature as a director, Gallo acts as writer, director, producer, star, cinematographer, production designer and editor. Thus, the failure is all his.

The film leaves any opponent of the current administration with a discouraging ambivalence: On one hand, one wants to vehemently decry such tactics in American politics. On the other, one wants to know where the hell is the Democrats' Karl Rove?

Sufficient cheap thrills and enough of the prevailing camp quality.

The sequel retains not only the same gimmicky premise as the original but its preference for cliche-ridden dialogue and flat-footed comedy as well.

Poire's comedy often pushes the definition of good taste to its limit. Many of his jokes are vulgar and crass. Too often, they're downright puerile.

The first half of the film is a by-the-numbers rock docu. But at the halfway mark, the personalities and psychoses of the performers become as interesting as the history, and the documentary morphs into an involving human drama.

It's a quiet film, shunning melodrama and political polemic. Instead, it opts for a human touch, conveying how a group of very different survivors come to terms with the past and plan a future in their own unique ways.

Flawed but imaginative film.

At heart a love story, Rosenstrasse benefits from strong, sympathetic performances from two actresses who play the same character at different ages.

Intelligent, universal tale.

Noisy and giddy, the film makes a stab at "Moulin Rouge" territory but ends up as a very trite story of boy loses girl, boy finds girl. It is also stridently camp -- not so much roaring '20s as screaming.

While the arguments obviously will be digested differently according to the viewer's preconceived notions, the impressive credentials of the witnesses, most of them former insiders rather than mere pontificators, give their arguments an undeniable credibility.

A classy and clever French thriller. Jean-Pierre Darroussin's performance as a browbeaten husband is entertaining, and Kahn's script brings wit and imagination to a straightforward story.

The scariest thing about this film is how desperate the makers are to earn a scream.

Benji is back, which is good news for youngsters and pet-loving families. Film lovers perhaps should steer clear, however, as hokey melodrama and sloppy comedy fill the gaps between neat dog tricks.

While the likable Seth Green, Matthew Lillard and Dax Shepard are definitely up to the comic excursion, the picture charts an uncertain course between wild and mild, eventually running aground in a pile of male-bonding muck.

The fifth outing for the slime-dripping, shape-changing creatures, the Aliens are looking a little dogged, perhaps ready for the Alien Retirement Home. Meanwhile, the Predator warriors, who never achieved the artistic heights of their counterpart, look better invisible. When visible, they resemble robotic can openers gone berserk.

Where the first film was something of a teen horror film, the follow-up, again from writer-director Stefan Ruzowitzky, is more of an unintentional comedy.

Director John Curran has masterfully managed to convey flesh and blood within the permutations of the sometimes clinical story. Enhancing the people-next-door nature of this saga were the film's smart technical contributions.

Has the crass look and feel of a 90-minute infomercial.

The results are always visually arresting, while the narrative, even by Maddin standards, is completely out in the ozone.

In the warm, sparkling character comedy Danny Deckchair, the Welsh actor (Rhys Ifans) moves to center stage, but it has taken a trip to Australia to get him there.

Anne Hathaway's charms barely rescue this exercise in lame comedy and romance.

Far too bloody for the art house crowd and too leisurely paced and obscure for more general audiences.

Outfoxed would have benefited from a greater exploration of exactly why Fox News has become so popular and so trusted by its viewers.

Attempts to pass itself off as a fast-paced caper picture doubling as a socially conscious apartheid drama but ends up equally unconvincing in both departments.

Code 46 lacks the visceral power of "28 Days Later," as well as what might be termed its "gross-out" appeal.

A teen comedy that possesses a wickedly satirical streak.