Whether you take the film as a deliberately vile act of filmmaking that unpacks rape-revenge scenarios while making a point about male desire, or simply as a deliberately vile piece of filmmaking, one thing is certain: It's about as close to a physical assault on viewers as movies get.

Though this third installment is not quite as nuts as the second film, it's nevertheless firmly set in the same ridiculous mold.

More a remake than a sequel, this production seems like a pointless effort. With a plot virtually identical to that of the first film, the only real difference between the two--and it is significant--is that Spielberg didn't direct this one.

Far from the sentimental drivel you might expect given the subject matter, this amiable and heartfelt drama about an adolescent boy's attempt to rouse his comatose mother explores the meaning of faith by tapping into the original, rebellious spirit of Christianity.

Amiable, brightly colored spoof of '60s pop culture.

An often spectacular but ultimately rather tedious musical/adventure/comedy.

Can a adorable, freckle-faced four-year-old save an entire movie? Sadly no.

If Griffin were a jowly Southern redneck, his mean-spirited rants would make him a pariah.

This slow, derivative chiller (which lifts liberally from "Ghost Story," "Rear Window" and "A Stir of Echoes") wastes far too much time on red herrings and telegraphs its plot points with painfully obvious dialogue.

Philippe Diaz's controversial documentary about the legacy of the brutal 1991-2002 civil war in Sierra Leone -- widely considered the poorest country in the world, despite its rich mineral resources -- suggests that the rebel faction RUF (Revolutionary United Front of Sierra Leone) was not alone in terrorizing civilians and committing atrocities, most famously the amputation of limbs with machetes.

Poison Ivy doesn't exactly keep one at the edge of one's seat throughout, but it certainly holds the interest.

A sleazy, seamy, flashy, steamy, vulgar exploitation thriller that revels in every minute of its own trashiness and delivers some pretty solid -- if prurient -- entertainment before strangling in a one-twist-too-many ending.

An observant and sensitively played drama about adolescent sexuality, unrequited love and heartbreak.

Though ultimately flawed, the film's depiction of velvet-gloved cruelty and matter-of-fact betrayal is surprisingly potent, and it's pure pleasure to watch Bacall prowling the corridors of power, tossing her golden mane and tossing off world-weary observations in a voice pitched somewhere between a purr and a growl.

BETTER OFF DEAD possesses a fairly strong cast, some good gags, and a quirky sense of humor, but it suffers from the stereotyped characters and familiar situations that plague most movies about teenagers. What is refreshing about BETTER OFF DEAD is a deemphasis on sex and drugs. Unfortunately, only about half of the many jokes and gags in the film are actually funny.

This dark comedy of addiction, delusion and humor as a weapon marks the feature directing debut of veteran writer Peter Tolan.

The resulting film is compellingly watchable and consistently entertaining, even if it does feel somewhat disingenuous, given the pedigree of talent involved.

A courageous and serious film that explores the limits of the mythic American virtues of persistence, inventiveness, and rugged individualism.

A blackly comic, neo-noir heist picture, Australian screenwriter Scott Roberts's directing debut fairly oozes strenuous eccentricity.

If you were to strip the "Austin Powers" films of their juvenile lewdness, psychedelic decor and swinging soundtrack while leaving intact the potty humor and pratfalls, the result would be something very like this pointless spy spoof.

The end result is an entertaining tour film.

Marshall delivers what he promises and Mitri makes for a cool, kick-arse heroine in the Ellen Ripley mold.

After Bruce Lee's death, a gaping hole plagued the martial arts genre, but former karate champ Norris helped close that gap.

The violence is excessive and the plot predictable, although there is some style to director Winner's approach.

This tricky film noir entry would have been routine had it not been for Bogart's magic.

Conrad's script surprises at nearly every turn.

Another failed attempt to make Tom Selleck a movie star, this is a handsomely mounted but vapid western that lumbers across the screen for two hours, providing little entertainment.

Has everything one could ask of a true-crime expose.