Once is a film for anyone who has ever been transported by the power and passion of music.

It's a pretty twisted concept, bordering on offensive. But mostly it's just not funny.

Relentlessly grim and grisly, 28 Weeks Later is not for the faint of heart. But its provocative post-apocalyptic theme makes for a smart and deeply unsettling film.

It tries to pass itself off as a film about feistiness, forgiveness and the bonds of motherhood. Instead, it deals lightly and inappropriately with promiscuity, alcoholism, drug abuse, grief and child molestation. Georgia Rule doesn't make you feel good; it makes you queasy.

Starts off promisingly, then grows as lifeless as a poker face.

Does the finest job of any film in painting a believable portrait of aging, capturing the sadness, confusion, anxiety and defiance of the early stages of dementia.

Solidly entertaining and possesses dazzling special effects, but it falls short of the near-perfection of the Spidey sequel.

The stories run a gamut of emotions: melancholy, bittersweet, provocative, witty, poignant, silly and fanciful.

Serves up an irresistible helping of delicious fun with writing that is tart and sharp and a story infused with sweetness.

Has some strong acting. But largely because of its glacial pacing, the story ends up feeling too detached to move us as it should.

This is the worst kind of movie, one that insults its audience by purporting to condemn violence while simultaneously reveling in it.

This implausible action thriller also stars Julianne Moore as an FBI agent who sees Cage's two-bit Vegas act and decides he can single-handedly save the world.

Most noteworthy for the performance of Sigourney Weaver as Linda, an autistic woman.

Though it's no "Monty Python," Hot Fuzz is a clever, over-the-top marriage of mayhem and merriment.

It isn't the Bates Motel, but the Pinewood Motel has enough creepy visitors and creaky floors to make Vacancy worth checking into for 90 minutes.

It's a provocative game that plays out with intelligence and wit.

What gives In the Land of Women its singular charm is the charismatic Adam Brody, the star of TV's "The OC."

The film itself is dark and chilling, if occasionally plodding, but worth seeing for the absorbing potency of its main performances.

It's nowhere near as funny or incisive as the South Park movies, and it has a much crazier style. Imagine Abraham Lincoln chatting up a giant milkshake and discussing slavery, and you get the picture.

All cinematic creativity seems to have focused on devising the most repellent ways to maim and murder.

Superficial and lurid, Perfect Stranger is the cinematic equivalent of spam and should, like those trashy messages, be avoided.

An engaging tragicomedy, exploring the consequences of single-minded fervor in a humorous and humane fashion.

Though it's not likely to become a classic like the Hitchcock film, it's a smart and well-acted teen thriller that serves up some lively scares.

Though it could probably use an intermission, Grindhouse is three hours of mostly campy fun.

The Hoax lures you in with its captivating performances.

The TV Set skewers the television industry in a manner that occasionally feels familiar and at other times is humorously incisive.

As if this drivel weren't bad enough, the ending blatantly threatens a sequel

Been-there-seen-that wannabe laughfest.