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The film barely transgresses racial boundaries. by Ed Gonzalez
Greengrass's latest, The Bourne Ultimatum, plops on the screen with lots of hi-fi energy but, strangely, very little feeling. by Paul Schrodt
A unique metaphysical vision that, tracing its characters' dislocation, seems to weave between alternate worlds as easily as it navigates from image to image. by Fernando F. Croce
Between its garish digital photography and borderline incomprehensible narrative, I Know Who Killed Me at times suggests a hack's attempt at a Lynch film. by Rob Humanick
The filmmakers dwell on the distinctly New Orleasian eccentricity of Ms. Pearl and David's tenants, whose hard-knock experiences with drug and booze predate Katrina, without every condescending to them, marveling at their unfortunate weaknesses and fierce survival instincts. by Ed Gonzalez
The Ten is, I guess, sacrilegious in the strictest sense of the term, and its interest in investigating the commandments can be skin deep, as they're often used as mere pretext for ribald nonsense. by Nick Schager
Let us praise If I Didn't Care for living up to its title: You will not see another film this year made with so little ambition. by Ed Gonzalez
Not to put too fine a point on it, but this movie throws like a girl. by Jason Clark
Leon Ichaso's El Cantante blows its load early. by Ed Gonzalez
Summer '04 couldn't have come soon enough. by Ed Gonzalez
The storyline is almost too easy to rag on, what with its almost complete incoherence and dead-serious evocation of Mean Girls by way of McNamara's own Raise Your Voice. by Ed Gonzalez
Coco makes me crinkle my nose, and not in the good way. by Sal Cinquemani
A fiasco that never met a crass stereotype it didn't milk for lowest-common-denominator laughs. by Nick Schager
The rare dance documentary that features more clips of Bob Fosse in front of the camera rather than behind, That's Dancing!'s only crippling flaw is that it was made when Kim Carnes was around to rasp through the closing credits. by Eric Henderson
Gavras uses Anna's precocious reason to tackle a generation's idealism head-on. by Paul Schrodt
Criterion deserves a medal. by Jeremiah Kipp
Naming Number Two peddles familial reconciliation while making one pine for familial annihilation. by Nick Schager
It's kind of like the MTV Beach House, only instead of teenage sluts flashing their tits and muscled-up boys licking whipped cream off girls' stomachs, the house is filled with creeps whose kismet is public humiliation, divorce, and probably some jail time. by Sal Cinquemani
After Hours showcases that many of the genre's staples have melodic hooks that hold up alongside those of You're Only Lonely's pop standards. by Jonathan Keefe
Not quite cowabunga, but it's still good, it's still good! by Ed Gonzalez
Rescurrecting the Champ is a snooze. by Paul Schrodt
A cinematic culinary treat for those without a discerning palette. by Nick Schager
The film is dignified by Parvis Parastui's memorable performance, which partially offsets Majidi's symbolic heavywork. by Ed Gonzalez
10:30 P.M. is still too early for Dassin's turgid melodrama. by Fernando F. Croce
The director's affectionate warts-and-all portrait of his milieu and subculture is blistering, cogently capturing how England's early-'80s skinhead movement was driven less by blind racial intolerance than by intense socio-economic tensions. by Nick Schager
Planet Earth finds Prince trying to forge some sort of acceptable balance between his Herculean reputation and the sense that his return to pop is really a veiled form of condescension. . by Eric Henderson
With at least 25% of our country still siding with the politics of Bush's criminal administration, the filmmaker has designed No End in Sight to sink in. by Ed Gonzalez
Laura Smiles teaches us that you can't escape misery, least of all in Jersey. by Paul Schrodt
This is crap! Ha-ooh! Ha-ooh! Ha-ooh! by Ed Gonzalez
Emerald City demonstrates Vanderslice's masterful control of craft at every structural level and his unrivaled ability to make the political personal. by Jonathan Keefe
Welles's underrated third effort gets no love in this DVD version, but it's still a virtuosic, fascinating work. by Fernando F. Croce
A passable presentation of Fritz Lang's slowly paced, overpraised noir will please historians and mirror aficionados. by Sean Howe
A rare opportunity to see B-picture rawness in an A-level presentation. by Sean Howe
Surviving better than it should, Red Dawn comes to teach a new generation about the perils of commie invasions. Take that, Hollywood liberals! by Fernando F. Croce
Phillips's singular determination is not unlike that of the artist he aspires to meet. by Rob Humanick
The Shakespeare in Love song remains the same, only the lyrics have changed. by Fernando F. Croce
The image is a bit of a downer, but the film is still thrilling, and the extras will keep you busy for days. by Ed Gonzalez
Absolute Garbage serves as an anthropological study of the musical relics of a bygone era. by Sal Cinquemani
With a fine image and sound transfer and a worthwhile collection of hearty extras, Hot Fuzz is now in the running for the title of DVD of the Year. by Ed Gonzalez
A solid DVD package for this disposable but nonetheless game attempt at giving Generation Y a Rear Window to call its own. by Ed Gonzalez
