Irwin's film comes as a bracing reminder of what punk was once all about, and will hopefully serve as an inspiration for better bands to come.

Excellent cinematography on the road and particularly good camerawork for the dismal gray 1930s Chicago settings. Salenger is wonderful, and so is the wolf.

This compelling and horrifying study of random violence seldom lives up to its promise, but it still packs a powerful wallop.

Stone, the master of the epic conspiracy and the operatic spectacle of diametrically opposed forces at war for men's souls, is so entangled in the trees that he's lost sight of the forest -- who could have imagined?

Hughes, though he gives the material a sense of fun and achieves several moments of genuine warmth, too often resorts to obvious cliches, stereotypes, and easy answers, and throws in the near-obligatory rock video as well.

The film's heart is Magdiel and the modest dreams that get him through the day but may also be the death of him.

Formulaic fun, helped by two winning leads.

Slick and surprisingly emotional documentary is really a rare, optimistic critique of globalization.

More than any previous film on the subject, Braun's documentary offers an answer to a common question, perfectly phrased and answered by Cheadle himself: "What can I do? More than nothing. A lot more than nothing."

Handlers, spin-doctors, and the good man they lead astray. Jeremy Larner's Academy Award-winning screenplay provides a voyage into the sea of politics; the result is a fascinating film that sometimes feels like a documentary. Despite minor glitches, this is a prophetic glimpse of politics in the age of TV.

The fact that it's based on a true story doesn't make it feel any less trite.

In this slight film about two boys about to be drafted into WWII, everyone tries hard, but the movie is essentially superficial and has difficulty sustaining audience interest.

Perhaps too clever for its own good.

A quirky charmer.

If the movie overall had the bitter brio of Malcolm McDowell's brief turn as Globecom guru Teddy K, a Franken-mogul stitched together from bits of Richard Branson, Barry Diller and Rupert Murdoch, it would be a pointed black comedy.

The competition between man and machine is fogged by distrust and obfuscation. And for now, the result is a draw.

Camille's desperate, destructive antics just don't seem especially cute or funny.

What's amazing is how much first-time director Ganatra and cowriter Susan Carnival get right.

It's good fun, and the whole debate raises some interesting questions about larger questions of authorship and whether or not it ultimately matters who "Shakespeare" actually was.

An illuminating glimpse into what goes on in the dance studio.

Picking up some 10 years after the previous film left off, this stripped-down, intelligently conceived follow-up is a respectable conclusion to the Terminator trilogy.

This seemingly placid community is slowly revealed to be tangle of interpersonal relationships defined by that essential rift that divides those who summer at the beach and those who remain behind at season's end.

Unfortunately, Hu and her army of co-writers saddle the story with a tired romantic subplot and fail to develop meaningful characters.

Powerful, documentary-style drama draws on the real-life experiences of "at risk" teenage girls.

The movie is a genteel, witty soap opera designed to make everyone feel the better for having not only seen it, but having had a bit of fun.

While most anthology films have one standout and one weak link, all three tales are short, sharp shockers -- there should be at least one for every taste.

An unnerving film that chips away at the sensibilities, effectively shot in a semidocumentary style, but a movie that refuses to pander to the perverse.

A whiz at crafting conventional Hollywood screenplays, Meyers's direction is overreliant on close-ups and medium shots; there's no life to any of the images. Still, the film coasts along smoothly on the charisma of its stars.