Repetitive and uninspired, it panders to the lowest expectations of horror buffs and squanders the efforts of a competent cast.

Harkening back to a time when race relations in New York City were even worse than they seem today.

Ambling but never less than endearing.

The goofy use of animated, Flubber-like blobs aping Robert Palmer's "Addicted to Love" video (by way of illustrating the irresistibility of desire itself) makes it hard to take the science seriously, which is the BLEEP problem in a nutshell.

Hits the ground running and never backs off until an ending that is disappointingly diffuse. (Review of Original Release)

The film's flippant style ultimately undermines its material - Rosen's decision not to immediately identify interviewees is especially irritating - and, ironically, makes the American art scene of the '60s appear as shallow and trendy as its detractors always claimed it was.

Ultimately, Bubble is less important as a film than as an experiment in simultaneous cross-platform film distribution.

It's really just "Rocky" in gleaming dress whites.

Lawrence is a comedian with talent who rarely uses it for anything worthwhile, and here he makes a halfhearted, paycheck-collecting effort that's actually in perfect keeping with the rest of the movie's tired, recycled tone.

This quirky, uncommonly intelligent adaptation is a strange delight.

Taut, cynical thriller.

Where "Brockback" leaves its lovers where gay love stories have left them for centuries - isolated, ostracized and miserable - this small comedy finds a far more liberated alternative for everyone involved. In its own modest way, it's the far more radical film.

Beautifully played by Valette and Zylberstein, and directed with amazing grace by Albou, this touching film offers a respectful, fascinating look at a community that's ignored as often as it's misunderstood.

The film's conceits grow thin and von Trier's mocking, hectoring tone tiresome.

Rather than adapt the novel per se, Winterbottom has adapted Sterne's hilarious attempts to make the mess of life fit the neat contours of the novel by making a movie about an attempt to make Sterne's chaotic and confusing novel fit the contours of a film.

However deep the divide currently separating the Middle East from the West appears to be, there's at least one thing we can all agree on: Albert Brooks isn't all that funny anymore.

It's a deeply provocative piece of filmmaking.

This ersatz jungle adventure is really a thinly disguised Sunday School lesson in faith, charity and the savagery of life without Christ.

True to its serial roots, this equally silly but undeniably entertaining sequel to "Underworld" (2003) picks up right where its high-grossing predecessor left off and offers more of the same.

Embry and first-time actress Sparks have charming chemistry, but Christopher's slight screenplay wears out its welcome long before the film - which runs a scant 80 minutes - is over.

Though the film verges on hagiography, Angio unearthed a treasure trove of fascinating clips, from the bored-looking writer-director leafing through his program at the 1971 Tony Awards.

While the subject is potentially fascinating, Gosling's unfocused, sluggish film is a case study in missed opportunities.

Lucas rarely breaks his glower to express anything other than tough determination. It's an attitude that's clearly modeled on that of storied Nicks' coach Pat Riley, who, it so happens, played for Kentucky that now legendary final game.

There are a number of excruciating moments that are almost too silly to mention.

Director Kevin Reynolds isn't so much inspired as determined to tell it with period accuracy, without bothering to be historically accurate.

Among those who are on hand to offer their own feelings about the man known as Peter Berlin and his art are fellow porn legend Jack Wrangler, groundbreaking gay writer Armistead Maupin, pornographer Wakefield Poole and director John Waters, who remembers Peter from his days in San Francisco, and still doesn't quite get what he's all about.

Moreau gives a beautifully sensitive performance as a woman who finds herself at a literal and figurative crossroads, a performance for which she was quite justly rewarded the Cesar Award in 2005.

Overall, it's like watching a home movie of a charming relative.