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Compelling in its consideration of the struggles of musicians to meld their art with a political message and present it to a largely indifferent public who just wants to rock out. by Andrew Schenker
Nature gives and nature takes away in Victor Sjostrom's pantheistic classic. by Fernando F. Croce
A solid pair of Nordic journeys from one of cinema's earliest builders. by Fernando F. Croce
There's something brilliantly stupid (or stupidly brilliant) about the sight of Ferrell and Reilly in vintage '80s t-shirts smacking each other around like steroidal kids, though it's the little things that make their complementary performances thrive. by Nick Schager
Animation Show programs have always been a bit of a mixed bag, but this year's slate is the most uneven yet. by Matt Noller
The bare-bones treatment doesn't make this representative selection from a major auteur's sober, elegiac vision of late 20th-century French life any less valuable. by Bill Weber
This new Brideshead takes a step in the right direction, but it's time some radical writer or filmmaker dared to leave out the dim Julia charade and let Charles and Sebastian play out their Isherwood/Auden Oxford love match to its full. by Dan Callahan
In The Order of Myths, just as in Manderlay, the legacy of slavery lingers on far past its historical moment. by Andrew Schenker
Man on Wire becomes a thrilling study in contrast, succeeding not only at extolling Philippe's superhuman performance but attesting to the achievements of those who similarly defied death to give the man the stage he walked on. by Ed Gonzalez
With Back to Normandy, a nostalgic travelogue with philosophical aspirations, director Nicolas Philibert not only returns to the scene of a crime but the scene of a movie shoot. by Ed Gonzalez
Director Go Shibata's coup is never sentimentalizing Sumida's condition, instead inviting our identification with him as someone just as capable of slipping into a moral abyss, but the director's style can be dumb. by Ed Gonzalez
Donkey may very well break CSS to a wider audience, but its artlessness actively undermines the promise shown on their debut. by Jonathan Keefe
If Black Kids can take on the end of the world, they ought to be able to withstand a little fanboy backlash. by Jimmy Newlin
For teen-pop (despite what Annie Leibovitz would have us believe, Miley is only 15, after all), your kid could do worse. by Sal Cinquemani
Jesus, Bruno is so going to blow this guy out of the water. by Ed Gonzalez
Chimp-related puns and maxims naturally abound, as do references to such unchildlike things as rhetorical questions and NFL expansion teams, and delivered at a clip that's alternately lively and insecure. by Ed Gonzalez
A series of pertinent moral predicaments delivered via sleek procedural-genre circumstances, the film's attention to difficult, contentious issues is filtered through a barrage of tense, breakneck centerpiece sequences. by Nick Schager
Leesong Hee-il's miserabilist l'amour fou might seem on its surface to lack either the Sirkian glow or Fassbinderesque kick to make its melodrama work--and it does, but Leesong seasons the familiar hokeyness with some flair. by Bill Weber
Contrary to what its altogether hideous advertising campaign would have you think, the latest collaboration between Eddie Murphy and Norbit director Brian Robbins is not, in fact, the worst movie ever made. by Rob Humanick
Like Crash for the heavyset crowd, Glenn Gers's disFIGURED is a preachy message movie that collapses under the weight of its own self-important speechifying. by Matt Noller
A Certain Feeling might be a little strange, and sometimes even seemingly meaningless, but it's also singular, rich and vast. by Sal Cinquemani
A decidedly limited, functional aesthetic affair. by Nick Schager
Whereas Johnny To's gangster sagas are usually efficient, operatic and serious-minded, his frequent collaborations with co-writer and co-director Wai Ka-fai often come equipped with some goofy supernatural twist. by Nick Schager
Were Rainer Werner Fassbinder still with us, would his twilight films be anything like Jacques Nolot's? by Fernando F. Croce
Transsiberian eventually reveals itself to be scatterbrained thematically, with any larger concerns relegated to the background of straightforward thriller maneuverings. by Nick Schager
Oliver's climactic twist merely nullifies any engagement with the characters' prior plights. by Nick Schager
Flounders in convincingly resolving its protagonist's plight. by Nick Schager
Despite Hulot's inefficiency at getting the show on the road, Trafic is an essential work from one of the movies' great comedy stylists. by Bill Weber
The movie experience gets in its own way. by Jeremiah Kipp
Around the Bend is worth hearing and a welcome return, but what works so brilliantly about it makes its shortcomings all the more disappointing. by Jonathan Keefe
John Mellencamp continues his ongoing evolution into something of a modern populist folk her. by Jonathan Keefe
Nas's flow is still the high-water mark of hip-hop lyricism.. by Jimmy Newlin
The album ends as it begins, urging us to rest our weary heads. by Sal Cinquemani
Takes great pains to tart up its mildly intriguing subject matter. by Andrew Schenker
This film version of Mamma Mia! is such a full-scale disaster in every way that it's hard to know what has held theatergoers' attention for so long. by Dan Callahan
This month marks the 25th anniversary of Madonna's debut, but we thought reassessing her most maligned album would be much more interesting. by Sal Cinquemani
Doomsday's vision of humanity rewound to a feudal state of being is pulpy and smart, though the film is more likely to be remembered as the longest car commercial ever made. by Rob Humanick and Ed Gonzalez
While the mood is spot-on, the dubbed dialogue is so persistently lousy that it besmirches the proceedings' otherwise-entrancing beauty. by Nick Schager
Money makes the world go round in Days and Clouds, a darling relationship drama that probes our collective fears about financial instability with an almost profoundly empathetic detachment. by Rob Humanick
Adolescent pulp fantasia meets sentimental married life in Guillermo Del Toro's follow-up to his 2004 working-class superhero movie. by Jeremiah Kipp
