They don't come much more ridiculous...

A depraved exploitation film specifically designed to shock and repulse viewers...also a cultural artifact reflective of and reactive to the time it was made...

Even with its mock-pretentious parallelism to The Odyssey...O Brother, Where Art Thou? refuses to take itself seriously, which is both its principal failing and its charm.

When it comes to swashbucklers, I'll take Wolpert's unmolested molestation of Dumas over Pirates of the Caribbean any day of the week.

Taymor tries a little too hard, neither breaking nor broken by the play, but ultimately losing the wrestling match.

Pretty much a non-starter...its squeaky-cleanliness will seem more at home in its inevitable cable afterlife on the Disney channel.

Though The Twilight Zone largely fell into tired repetitiveness in its final season, its crafty tales and spectrum of darkness to humor still stood apart from the television pack...

Undaunted, O'Connor straightens his spine of melodrama and focuses on the task of building up the film's emotional muscle.

A superb, stylish piece of modern mythology.

Doesn't quite go far enough, instead settling for cheap gags and cheap thrills, but it tickles fairly well for a couple of hours of crashes and fireballs.

By the time Rath and Bain have it out in a ramshackle, condemned motel with floors that keep giving away under them, we realize this final setting is a metaphor for the film itself.

Everyone knows that kitties love homicidal mercenary explosives experts. But for those who don't, there's The Specialist, another Sylvester Stallone action picture that's as dumb as a bag of hammers.

Dated and unintentionally laughable, Cobra will always be best known for the catchphrase 'You're a disease and I'm the cure.' Ironically, any audience foolhardy enough to brave this ugly movie is liable to stagger out feeling mighty sick.

In its third year, Fringe continues to 'go there' with a groundbreaking season that gives pretty much equal time to 'our universe'...and the 'parallel universe'...

There’s absolutely no reason for The Final Destination to exist other than the only one Hollywood studios really care about: a cynical cash grab.

Imagine if the characters on TV’s beloved sitcom Friends lost their lease and decided to mark the end with an orgy...gives new meaning to 'I’ll be there for you.'

You know, 'I'm gonna direct this film about a woman and her struggle to conceptualize God'...It's like, 'Are you insane?  Are you possessed?'

I have no interest in manipulating a performance. I want to unleash a performance. And I want to witness a performance. And obviously use my camera as tellingly as I can to capture that.

Boils down to the importance of facing up to what one can and can't live with, and taking action to set matters right...audiences will be able to recognize the secret agency in their own lives and the folly of living lies.

McCarthy does a fine job of juggling the domestic mystery, situational comedy, and inevitable drama, and his terrific cast is well-suited to the deadpan ethical satire.

Even in the show's seventh year, House continues to be an endlessly fascinating character, as brilliantly played by English actor Hugh Laurie...

A flashy but disposable exercise in style over substance...

Kapadia fosters a distinct 'you are there' feeling for the races by composing his visual storytelling entirely of vintage footage, mostly derived from the Formula One archives.

The slow-boiling romance convinces thanks to Wasikowska and Fassbender's unwavering seriousness and commitment to selling the story.

Gibson again stares deeply into the abyss. The question is whether—after his public disgrace—anyone will want to go there with him.

It's the whole proud, embarrassing sociopolitical, cultural heap of American history—and the American Century in particular—in two fleet, funny hours.

Ultimately, the magic-and-monsters milieu isn’t enough when the jokes are half-baked.

A twisted revamp of Rankin-Bass by way of Edward Gorey.

Momoa, also a model, proves that he's more of a poser than an actor: he's a cocked eyebrow, a squinty tic, and an assortment of bulges in search of a performance.

One Day's annoying artificiality comes with no compensatory effervescence, a requirement of a romantic picture.

Here we go again: big lies swell and then pop in a flick that’s one-hundred percent adherent to the shiny, colorful Warner Brothers rom-com style guide.

Season Five's twelve episodes unfortunately retrace some of the steps of earlier seasons when the show should be focused on breaking new ground, but Dexter remains entertaining in its complications...

[Spencer:] Long before...people who were housekeepers and perhaps felt invisible, I think it is always a gracious thing to acknowledge someone’s influence and going out of their way to help you. So, absolutely. I will always say, 'Thank you.'

Sweet but a bit dull...Overall, the picture is good-hearted and colorful, with an ending that carries a nice touch of ambiguity about the tussle of nature and nurture.

The whole fiasco turns out to be an excuse to let Seth Green play a (redubbed) little boy. Next time, maybe just cast a real boy, build some sets in an old barn, and have Mom make the costumes.

The comic targets and the central manchildren bromance all feel overly familiar...Still, Paul benefits from Pegg and Frost's British comedic slant and the full complement of comedic talent...

[Ansari:] The worst job I ever had was I used to make crystal meth, and it was really hard because the lab would just explode all the time, and it was a lot of cleanup.

I’m a big fan of those...late '60s, early '70s movies that all had this...anti-authoritarian edge to them as well. So there are a lot of dumb jokes in the movie, but there are other jokes that are...a bit more pointed and confrontational.

A sort of raunchy It's a Wonderful Life, though the plentiful nudity and babbling brooks of profanity tip the scale from sensitivity to outrageousness.

Serves up a bounty of clichés and borrowed ideas, but it's also overtly political, bringing up issues American rom-coms wouldn't dare touch.

Marshall's sunny, sitcomedic comedies tend to be kinda bad but also compulsively watchable, and this one's no exception...

A reasonably fun double-episode of Burn Notice...Who doesn't love Bruce Campbell?

Faith-based...With its sports-movie structure and Hollywood production values, Soul Surfer is a creditable crossover picture; it just could've done with more nuance.

For labyrinth-lovers...a thoughtful and entertaining murder mystery predicated on intellectual debate.

Despite it all, just try to take your eyes off this movie: skillfully crafted by Levinson, Sleepers is eminently watchable, deeply emotional, and populated with top acting talent.

[Gives] Weaver equal billing with everyone's favorite Southern spitfire, Holly Hunter. Teaming up these heavyweights is the genius notion of Copycat, a solid serial-killer thriller elevated by phenomenal acting.

Full of...goofy ironies, and while it ain't Molière, it is a pretty great entry in the teen-comedy genre.

I never wanted to make a smear piece or a derogatory look at the group...At the end of the day, I’m always going to be a fan of A Tribe Called Quest.

Fits neatly into Weerasethakul's cinema-shaking oeuvre of beautiful experimentation.

A typically horny-thorny Solondzian dramedy...Solondz's is a universe of limitless disappointment.