The film is a harmless extension of the skit, aimed at fans and best viewed as a showcase for Meadows's considerable talents.

The story's a bore; its arrhythmic stutter of humor and drama, tension and calm never builds into any coherent emotional arc.

Things take an unexpected turn into far grimmer territory when the wormy Robert finally turns.

There's something surprisingly sweet at the center of this grim prison drama.

An exhilarating, funny and deeply sad story of growing pains that works on two levels; it's a feel-good story that quietly undermines the notion of gain without loss.

Unfortunately, Flicker wasn't able to rise above the limitations of his microbudget, and his message is compromised by student-film production values and performances that range from adequate to pretty awful.

A fascinating, often tragic history of a program the Soviet Union held up to the rest of the world as communism's ultimate technological achievement.

Contains some nicely observed moments, but they're buried in an unrepentantly sitcomy script.

Muddled tale of demonic hijinks and devil worship. It's terrible.

For all its harsh realism, the film flows like a dream, albeit a highly unpleasant one.

A moody, beautifully acted character piece.

This smart political thriller gets pulses pounding with no pyrotechnics and only one car crash. And it's a doozy.

Shot in shades of steely gray and streaked with near-constant rain, this gloomy revenge thriller is a sadistic cartoon.

Bighearted and wistful, but with no fresh spin or anything new to say.

All the segments are technically polished, but none offers much substance.

Builds so gradually you probably won't realize it's a near-masterpiece until it's over, but there are hints along the way.

A well-crafted potboiler from start to finish.

A hyperactive hodgepodge.

This is less a movie than a lecture. Perhaps Lee simply should have made a documentary.

The gross-out factor is surprisingly low, and the combination of Stiller and De Niro is inspired.

Aronofsky has given us a well-acted, gorgeously overwrought and luridly entertaining exploitation flick -- a midnight movie for future generations.

Clichés negate bona fides; hence, the movie feels like a corny Mickey Rooney/Judy Garland vehicle with cussing. That said, the tapping is fabulous.

Director/co-writer/co-producer Jon Gunn's Christian agenda is evident without being intolerably sanctimonious, and he's a competent filmmaker who shows sign of having a little style.

Though more coherent than the disastrous Hellraiser: Bloodline, this psychological thriller with demons gets bogged down in too many "Is it real or just a nightmare?" sequences, and Sheffer's typically wooden performance as Joe makes it hard to sympathize with his travails.

Kusama's impressive feature debut is an affecting coming-of-age drama whose story is familiar without being hackneyed.

A reasonably entertaining way to kill an hour and a half.

This mix of sweat and uplift in the Civil Rights era doesn't quite come off, despite some strong performances and the fact that it's based on a genuinely inspirational true story.

Sally Field has actually made a likeable movie.