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A groan-worthy SNL sketch distended to feature length. by Nick Schager
It's a nasty little dance, but you'll find it hard to stop tapping your toes. by Daniel Rivera
Essentially a collage of mistrelsy reaction shots, College Road Trip is both cinematic atrocity and equal-opportunity offender. by Ed Gonzalez
No disrespect to Channing Tatum, who does one better than J.T. by bringing both sexy and baggy back, but pencil-thin dweeb Adam G. Sevani is the star of this nonstop dance-a-thon. by Ed Gonzalez
Never thought I would stay this, but give me another hit of Crank instead. by Nick Schager and Ed Gonzalez
Gender and genre are continuously bent in La France, Serge Bozon's uniquely weird and often starkly beautiful experiment. by Fernando F. Croce
The new album's brief 10 tracks prove that Beck's almost always more interesting when he's not having fun. by Paul Schrodt
A tapestry of intersecting Hollywood lives that illuminates nothing except for writer-director Jason Freeland's obvious fondness for Short Cuts. by Ed Gonzalez
If most of the film locates Obermeier's quest for freedom in a series of surprisingly drab drug-fueled hookups, then the final section generates slightly greater interest by suggesting an alternate route of exploration. by Andrew Schenker
Hartnett does windbag cockiness well, yet the overriding conception of his character and the Dot Com phenom in general is so straightforward and unrevealing that his effort goes for naught. by Nick Schager
Full Battle Rattle often seems content to merely work its way toward the concluding notion that, if our armed forces can't cut it in fake Iraq, they'll never be able to handle the real deal. by Nick Schager
A cheap inventory of old-hat period romping that downplays Houdini's contempt for psychics while saddling him with corny mommy issues. by Ed Gonzalez
Special effects have come a long way since Jurassic Park, but you wouldn't know it from Journey to the Center of the Earth. by Nick Schager
It would be tempting to dismiss Kerli as just another Estonian pop singer trying to breakthrough in the U.S....if there were any others. by Sal Cinquemani
Rook is surprisingly coherent, and its mood swings underscore rather than undermine the unity. by M. Clark
The specter of the AIDS crisis is raised on several occasions, but never as anything more than a way to elicit easy sympathy. by Matt Noller
Like almost all other Iraq war movies, Stop-Loss is as much about the war as it is about making movies--and like its kin, it isn't any good. by Bill Weber and Ed Gonzalez
Pure, unadulterated mediocrity. by Nick Schager
Delivers less insight into the psychology of why young girls turn to prostitution than HBO's Hookers. by Ed Gonzalez
There's real wit to Prendergast's aesthetic. by Ed Gonzalez
Brings back bad memories of Nearing Grace while tainting fond ones of Catcher in the Rye. by Ed Gonzalez
Hitchcock's "Wrong Man" scenario gets an invigorating French update in Tell No One, a long-winded but gripping thriller based on American author Harlan Coben's bestseller. by Nick Schager
Sheds essential exposition in a mad, foolish dash to the finish line. by Nick Schager
While Polanski has been brutally wracked by tragedy, these traumas don't excuse his conduct, which the film tacitly admits did take place but still attempts to mitigate with the very types of irrelevant contentions it censures the domestic press for making. by Nick Schager
Pairing Nordic, perky-voiced songbirds with ice-capped Euro-house is a no-brainer and Keerlup's got the formula in spades. by Sal Cinquemani
Hasn't got a joke worth laughing over. by Nick Schager
Omaha quintet Tilly and the Wall return for another round of their patent-pending Gene Kelly rock. by Sal Cinquemani
A penetrating contemplation of the American industrial-military complex's obstreperous legacy. by Eric Henderson
Feed the Animals, while perhaps not as fresh as Night Ripper, is a sweaty, neon-lit, seizure inducing, off-the-wall, utter delight. by Daniel Rivera
Filmmaker Carter Smith is going places, something which can't be said about the characters in The Ruins. by Nick Schager and Ed Gonzalez
Until 24 is back on the air, we won't be able to wash the bad taste of Vantage Point from our mouths. by Jeremiah Kipp and Ed Gonzalez
WALL-E goes beyond inviting comparisons to E.T., Number 5, R2D2, even Chaplin's Little Tramp--the Waste Allocation Load Lifter relies on them, for writer-director Andrew Stanton understands this robot janitor as a study in memory and inheritance. by Ed Gonzalez
Give me Revenge of the Nerds II: Nerds in Paradise instead. by Nick Schager and Ed Gonzalez
Like slogging through a pool of molasses, My Blueberry Nights may or may not wreck your love affair with Wong Kar Wai. by Ed Gonzalez
A bathetic Afterschool Special, City of Men is a trendy illumination of social despair. by Ed Gonzalez
Xanadu isn't stupid. It's just a little slow. by Eric Henderson
Speaking of bodies, Jolie's is here front and center, her svelte frame slinking across the screen with an alluring animalism magnified by the steamy twinkle in her eyes and sensual gestures as small as a wave of the hand or a shrug of the shoulder. by Nick Schager
The contemplative rape film Irreversible wished it were. by Nick Schager
ATO reissues Liz Phair's critically acclaimed debut LP, Exile in Guyville. by Jimmy Newlin
If Hymn and Her unfolds with ease, it does so without much purpose. by Daniel Rivera
