Too lazy to play your own d--- video game? Lucky for you there's horror director-for-hire Uwe Boll, who's making a career out of adapting successful Atari and Sega games into tedious popcorn fare that's the ultimate in cinematic passivity.

The film's last 20 minutes devolve into a tedious slog through the kind of pointless, predictable running and screaming that give horror movies a bad name.

An equally discomfiting mix of popular science and ballyhoo, serves up amazing images of the bizarre life that flourishes in the deepest ocean depths.

The less said about the story's twists and turns the better, except to warn that they become increasing preposterous with each passing minute.

If you have the stomach - or the Dramamine - it's a touching, humorous take on Jewish life in contemporary Argentina.

The subject can sharply divide even the most liberal-minded critics, but it's no secret on which side of the debate filmmakers Bathsheba Ratzkoff and Sut Jhally find themselves.

Repetitive, predictable comedy.

Like his intrepid hero, theater-turned-film director Ekachai Uekrongtham never misses an opportunity to brighten an otherwise ordinary palette with just a bit more color.

Fatih Akin's surprisingly grisly feature spills more blood than both of Quentin Tarantino's "Kill Bill" films combined, which is strange when you consider that it's a love story.

Even when the script takes a turn for the chatty, there's always something pretty to look at.

Each woman is a terrific interview, and if the climactic vision of these still beautiful ladies gliding through the water doesn't bring a lump to your throat, you surely have no heart.

Alnoy's narrative is better suited to a trashy thriller than a vehicle for weighty political themes.

Viewers are left to draw their own conclusions, which inevitably will be colored by individual reactions to unabashed frontal nudity.

A slicked up, perfectly watchable update of a movie that was just about perfect on its own bleakly seedy terms.

Wood's drama packs an emotional gut-punch that's all the more devastating for its being rooted in a dreadful historical reality.

As an explanation of where we are today, the entire film makes for crucial viewing.

Delivers its commendable message with affecting eloquence.

Pinup appeal alone does not a compelling movie make.

Bland family comedy.

Barratier has assembled an unforgettable gallery of faces both young and old, and prolific character actor Berleand plays the perfect villain.

The film's lingering exploration of their sleek surfaces verges on roboporn.

This excellent documentary from Iraqi writer-turned-filmmaker Sinan Antoon presents their hopes and fears directly from the Iraqis themselves.

Increasingly preposterous, thoroughly credibility-straining escapades.

Orenna, Thornton and Belton deliver strong, surprisingly subtle performances that make the modest fireworks genuinely engaging.

The animation is truly breathtaking, the action sequences are spectacular (and sometimes very violent) and everything floats along on the strains of Il Won's spare, hypnotic score.

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.

Uncomfortable as the film is, it's a beautiful, sensuous experience.

This smooth concoction goes down with a pleasant tingle and leaves behind a warm glow.