Amiraton

mild and conventional, and the suspense sequences never amount to much, thanks largely to the film's failure to play by any identifiable rules. In a film in which reality can be bent and rebent, following the director's whim of the moment, it is nearly impossible to establish any real sense of danger. Menace requires integrity, and

That tragedy looms heavily in Behind the Sun only makes its life-affirming moments -- resonate more deeply and powerfully in a film that is one of the year's best.

One of the best products to roll off the prolific multihyphenate’s Atlanta-based assembly line, largely absent the pandering humor and finger-wagging moralism that have bedeviled many of Perry’s earlier (if undeniably popular) efforts.

Aside from the red stuff, the film is scarcely interested in what’s inside its characters.

Sensation, not sense, is the point of this exercise, and what it lacks in originality it makes up for in effective if cheap moments of fright and dread.

McQueen can be so effective in action pictures, The Hunter is all the more frustrating: Didn't anybody point out that the script was a mess that made no sense? Didn't anybody have the guts to? Maybe they thought superstar McQueen would save the day. Pictures like this could finish him off

Assembled from the debris of countless worn-out images of the Deep South and is indeed beautifully photographed. But the writer-director, Deborah Kampmeier, has become inflamed by the imagery and trusts it as the material for a story, which seems grotesque and lurid.

offbeat rom-com that ventures down the film-noir path, Hit by Lightning manages to make dark comedy fresh by combining two formulas.

Black somehow feels reigned in; shaved and barbered, he's lost his anarchic passion and is merely playing a comic role instead of transforming it into a personal mission.

There is enough ridiculous fun in the Tracy Morgan- Bruce Willis pairing as two of Brooklyn's "finest" to get many of you past the squirm-inducing stuff.

Working from a story by all-around genre specialist Jonathan Mostow, director Mark Tonderai steers the story cleanly around its queasy hairpin turns, perversely toying with one of pop cinema's most cherished clichés: the audience's inculcated desire to side with the underdog.

hilariously incomprehensible movie I've seen in many a long day - a movie almost awesome in its badness.

Get a Job is an uneven, strange little movie with a hit-and-miss screenplay, some distractingly weird camera angles and a few subplots that never should have seen the light of day (or the dark of theater), but it also has an infectious charm, some genuinely funny set pieces