This totally sucks.

Seriously undermined by its sour tone and an unusually charmless performance by star Chris O'Donnell.

Sitting through this charmless romantic comedy is like going to a restaurant and being seated next to a drunken couple who argue throughout dinner: It's messy, embarrassing and absolutely none of your business, but there's no escape.

It's all pretty entertaining in a shallow sort of way.

A psychologically acute profile of one teenaged girl obsessed with leading what she thinks of as normal life.

Climaxes in an ending of such sleazy preposterousness that it's almost worth the price of admission alone.

A tragicomic Holocaust fable that's by turns silly, triumphant and achingly sad.

There are poignant moments in this apocalyptic "what if" exercise.

An exciting dramatization of the strange events that marked the turning of the legal tide against Big Tobacco, and a particularly dark moment in the annals of CBS News.

Hugely entertaining.

Wildly entertaining and quite poignant.

Mimics the kind of comedy that doesn't date particularly well to begin with.

Visually dazzling, touching and funny.

Is there anything more irritating than an exploitation filmmaker with self-referentiality on the brain?

(A) languorous, mud-spattered psychological tale.

Fanciful and highly entertaining docudrama.

Slight, over-long.

It all seems terribly familiar.

(Salerno-Sonnenberg's) determination and resilience should speak to a broader audience.

For horror fans in a forgiving mood, it's an adequate fear fix.

Its imagery is never less than breathtakingly beautiful, and is occasionally truly awesome

Bizarre, utterly original and truly indescribable comedy...You just have to see it for yourself.

An uncomfortable go at romantic comedy that belabors the same mistaken-for-gay premise as"In & Out," but without much of that film's charm.

This flashy and ultimately conservative morality tale relies on shockingly frank sex talk to cover the fact that the characters are shockingly poorly developed.

(Griffith's) appearance often verges on the grotesque. Which, come to think of it, could be said of the movie as well.

The downside is that it all feels like a big in-joke, and you're not in on it.

A throwback to the slickly entertaining melodramas of Hollywood's golden age.

Not many films have the power to change how one sees other people, but this remarkable anthology of loosely connected shorts from writer-director David Riker just might.

Falls far short of its grim potential.

Shot on reverse film, poet-turned-director Lukas Moodyson's debut feature has a grainy, immediate feel that nicely enhances the story's emotional honesty.

A straight-faced throwback to the glory days of mutant wildlife on the rampage.

Slick and glib when it means to be profound yet ruefully witty; its rhythms are pure sitcom, complete with emotional rimshots.

Catches you with a creepy sucker punch.

What really undoes writer-director John Keitel's admirable intentions is the general lack of artistry on virtually every level.

In the end, the film feels a little futile; its relentless, one-miserable-note tone is numbing.

There's something inherently funny and surreal about Chinese kids speaking Singlish while trying to be goombahs from Brooklyn.

Juvenile and pointless.

A privileged peek into the glitzy world of Texas's ultra-rich, minus the melodrama.

Oddly enough, this uncharacteristic offering from a director whose name instantly evokes a very particular kind of film -- call it postmodern American gothic -- is also one of his best.

A brilliantly realized series of sucker punches, a philosophical howl disguised as a muscular guy movie.

Code Word: Bad!

Veers inconsistently between sit-com jokeiness and nostril-flaring melodrama.

There's just no reason why it should take more than two hours for so little to happen.

Slight, smart-alecky romantic comedy.

For all its sensitivity, the film abounds with movie cliches about the developmentally challenged.

Manages to create a great deal of ambiance and a few thrills on a shoestring.

This intelligent, oddly aloof thriller is a worthy follow-up to director Steven Soderberg's "Out of Sight."

A sad blot on an impressive career.

Hoch's very funny satire on racial stereotyping cuts both ways.

A delightful surprise, a tightly written, savvy slapstick comedy with genuine heart.

Swank's nuanced performance is remarkable and it's a powerful film.

A painfully claustrophobic picture.

The rogue feminism of "Thelma and Louise," mix in some of "Rock 'N' Roll High School" punk-rock energy.

It's strictly for the kids, and they'll be tickled.

A wonderful premise that delivers solid laughs and has a heart as big as the state in which this farce unfolds.

There are people who eat this kind of thing right up -- if you're one of them, dig in.

It's vulgar, to be sure, but it's also brash and invigorating.

Smarter and more engaging than it has to be.

An astonishing movie that keeps you off-balance from the first scene.

An illuminating depiction of Islamic women that is entirely at odds with what we are often lead to believe.

Whether this riot of unrepentant trashiness strikes you as tediously ridiculous or brainlessly amusing is probably a matter of mood.

Often technically rough, but it's painfully compelling.

Shot for next to nothing, Buck's film features some lovely cinematography, two strong performances from newcomers Monda and Kelly, and a funny bit by Nancy Daly as Roberta's sweet 'n' sour boss.

Watching this string of sketches about small town wackos is like channel surfing a heavy sitcom zone.

Thoughtful look at the itinerant street musicians of Paris.

It begins with a stale Hitler joke and ends with a miraculous quick-save that demonstrates just how poorly the Holocaust is served by the life-affirming requirements of Hollywood features.

It's an amiable enough picture, and genuinely insightful about the emotional appeal of devoted fandom.

The air of low-budget Eurotrash is unmistakable. Almost everybody has an unidentifiable accent.

Deftly mixes rueful sentimentality and trenchant observations about the constantly shifting balance of power that drives relationships.

Odd yet thoughtful romantic comedy.

This modest little moral thriller is a pleasant surprise.

A lovely homage to a charismatic star.

The performances are uneven and the loosely structured story never actually goes anywhere.

Visually stunning and breathtakingly frank, but thrill-seekers beware.

The weighty themes of loss, regret and abdication of personal responsibility are undermined by the reverential use of baseball as a symbol of mankind's potential for selfless greatness.

It's a dumb movie, but it's good for a few profoundly undemanding laughs.

The aroma of hagiography is unavoidable.

Handsomely photographed and acted...defiantly old-fashioned testament to the power of love.

Vonnegut's brand of juvenile surrealism...doesn't age especially well...but it could hardly be worse served than to be brought to the screen with such ham-fisted literal-mindedness.

Fascinating on a number of levels, and deeply disturbing through and through.

Characteristically stylish and willfully outre, and uncharacteristically watchable.

Not much happens in this gentle-hearted, black-and-white film from Argentina, but it's what doesn't happen that makes it such an unusually satisfying experience.

Black comedy of the deepest, richest darkness laid over an aching meditation on the atrophy of dreams.

The banality of faceless evil isn't actually all that compelling on the hoof; the film's more interesting as a curiosity than as a film.

Overall the film is a stylish lark with no resonance, a mean-spirited one-night stand of a movie.

Has a sour undertone that strangles its cheap laughs.

Sumptuous historical melodrama.

Director Mike Barker has delivered a film that proves there's life left in the old genre yet, and does so with style, intelligence and surprisingly little violence.

A wild, endlessly inventive romp set in a post-war world so full of machine-guns and hand-grenades that people barely flinch when one or the other goes off.

Filled with short, rapid-fire takes, edited to a pulsating beat and punctuated with blasts of noise...the style suits the often violent material, as well as Arquette's remarkable physical performance.

An amazing artifact; the decor and lighting mix '70s tackiness with odd '50s touches, the sound design is elaborate.

This moody film is ravishingly beautiful to look at -- but the story's fairy tale atmosphere doesn't entirely mesh with its psychological underpinnings.

Meanwhile Baldwin (bulked up a la DeNiro and playing totally against type), is a revelation, funny and touching.

None of this is especially funny, nor is it particularly exhilarating; at best it's throwaway entertainment.

McTiernan's extensive action background is nowhere evident in the murky, all-but-impossible to follow battle sequences.

Chilly, muted and refreshingly free of cheap shocks, this stylish psychological horror tale is greatly enhanced by subtle (acting) performances.

Some good lines notwithstanding, this is a real disappointment.

The cast is aces, and Peter Morgan's screenplay is both very sharp on male sexual politics and crammed with enough comic twists and turns to keep you interested.