Its release calculated to coincide with the X Games, Supercross: The Movie is advertainment to the extreme.

It's an engrossing and often very funny tale.

There is no denying the emotional impact of the story, which is powerfully conveyed in this important, deeply moving documentary.

An elegantly mounted ghost story that's steeped plenty of dank Louisiana atmosphere.

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.

A psychological thriller without bothering much with psychology. Come to think of it, the thrills are pretty much missing, as well.

Amateurishly shot, written and acted, the film lacks any redeeming values to compensate for its horrific aesthetic.

Has a demented sense of humor, and the cleverness of its taut narrative structure and misanthropic characterizations constantly surprises a viewer. The movie does what you wish more first-time features would do: tell a story economically with first-rate actors and no hint of self-consciousness.

Complex but cold tale.

Certainly should appeal to viewers with an interest in current affairs.

A bigger-louder-dumber take on that good ol' CBS hillbilly hit, the movie version of "The Dukes of Hazzard" starts off on the wrong foot and keeps heading, appropriately, south.

It skips merrily along the surface with its over-the-top vignettes but never seems to arrive at a destination. Nevertheless, the journey is more than half the fun as every actor attacks his role with relish.

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

Indeed a wary viewer must get past the film's infatuation with celebrity culture to enjoy this movie's charms. But charms it has.

A tart and tender comedy that pulls off a little miracle of its own by being genuinely heartwarming without leaving any cloyingly sticky emotional residue.

Jakubowicz's direction is assured except in the film's final moments, when he makes a clumsy attempt at sociopolitical philosophy that is delivered by an omniscient narrator. It's an indulgence that threatens to undercut the ferocity that precedes it.

A newcomer to film, Michaletos grew up on a farm with cheetahs, so he can act natural around the animals while making this Huck Finn-like character more than credible.

Not merely a sitcom of cultural clash. Screenwriter Angus Maclachlan has delicately etched a compelling portrait of a way of life whose decencies and simplicities are often dismissed as being "unsophisticated."

An uncompromising portrait of how global capitalism can exploit an area's resources to the point of near annihilation.

A thoroughly conventional romantic comedy with all the usual trimmings.

A likable mix of laughs and wacky action sequences.

Hollywood's latest virtual movie, features impressive action sequences -- all created through technology -- a thin story, cardboard characters and snicker-inducing dialogue.

Obscene, disgusting, vulgar and vile, The Aristocrats might be the funniest movie you'll ever see.

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

Fails to overcome its hokey script and cliched characterizations.

Superbly conveys its themes of despair and lost opportunities.