Has a certain weird charm, but it's too seamy for children and too simplistic played for adults.

The film's greatest asset is its performances.

It honestly delivers the goods without all the preachy moralizing about violent entertainment and cultural ruin.

Silly but endearing comedy.

It's all terribly trite, but Durst does make an effort to keep his film grounded in the reality of a lot of once thriving towns like the fictional Minden.

The movie's is really good, clean fun that's fine for slightly older kids and a lot of fun for adults.

Essentially an extended trailer for the 2008 Cartoon Network animated series.

There's a terrific movie buried in Woody Allen's tale of two American girls broadening their horizons in Barcelona, and every once in a while tantalizing glimpses penetrate the twee narration and mannered performances.

A dry, thoroughly modern reminder that while mores change, human nature doesn't.

Offers what her fans came to expect from the "Jezebel of Jazz": great music.

The result is slick, mainstream entertainment with just enough surprises that you don't have to feel like a fool for enjoying it.

Actually a marked improvement over the plodding and confusing original.

Cheerfully gross, deliberately retro horror picture pays tongue-in-cheek homage to the kind of genre movies Charles Band and Roger Corman's companies turned out in the 1980s.

Cruise is downright scary. It's the creepiest -- and most entertaining -- performance since his unforgettable appearance in that Scientology video.

This melancholy mediation on aging and desire hangs on an exquisite performance from Penelope Cruz.

While not every artist Aaron Rose profiles in his documentary about one colorful corner of the 1990s New York Art scene is "beautiful," they're all "losers" and proud of it.

Larry Bishop's painfully self-conscious homage to biker films of yesteryear is a carefully crafted pastiche that doesn't miss a wild-deadly-angels-devils-sadists-revenge cliché and can't hold a candle to the down-and-dirty likes of "The Glory Stompers."

Shane West does a pretty impressive impersonation of the on-stage antics of Darby Crash...Unfortunately, little else in this clunky, half-baked biopic rings very true.

Like the film's giddily intoxicating cannabis hybrid, Rogen and Goldberg's script cross-pollinates Cheech-and-Chong style stoner comedy with Tarantino-esque ultra-violence.

A charming comedy-drama that's surprising true to the events that inspired it.

We don't learn too many specifics of Smith's brilliant career, and only a die-hard fan will find all of it vitally interesting.

The sequel is something of a disappointment, embroiling its refreshingly level-headed heroines in a series of clichéd romantic dilemmas.

Still passable popcorn fare, even if you'll barely taste it before swallowing.

Hopelessly muddled film cries out for the firm hand of a dyed-in-the-wool cynic like Billy Wilder, who would have put some teeth in its jabs at amoral politicians and blindly ambitious journalists.

Though inspired by Weiland's own childhood, the film's plot sticks close to the underdog's coming-of-age formula and is marred by young Bernie's gratingly self-pitying voice-over.

Painfully undermined by its central characters.

A sprawling, messy, frustrating and impassioned examination of the psychological fallout from America's obsession with a highly artificial and all-but unattainable standard of beauty.

Strikingly authentic, socially conscious crime drama.