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Despite the title, you won't find any Devo on Whip It's soundtrack, but the Ramones and .38 Special both make vocal appearances in this film that marks the directorial debut of Drew Barrymore. If these bands made the journey from Drew's iPod to the big screen, more power to them, as they're certainly in tune with the rock & roll aesthetic on display throughout this rowdy, rebellious film. Read more.

By Matt Brunson

Look, it's only fair. If impressionable frat boys can enjoy The Hangover this summer and impressionable teenagers can enjoy Transformers: Revenge of the Fallen, then why not give impressionable women their own imbecilic film? An abhorrent romantic comedy, The Ugly Truth is so inept and ill-conceived on so many levels that mandatory sterilization seems to be the only punishment suitable for everyone involved in this mess. We probably wouldn't want these folks breeding like rabbits.

For the full review, click here.

Who knew that director Kathryn Bigelow was anything other than a Hollywood hack? Sure, sure, she's had her supporters, but practically all of her past projects have favored cold style over warm substance. The justly forgotten Blue Steel was one of the worst films of the 1990s, Point Break was merely daft masturbation fodder for fans of Patrick Swayze and/or Keanu Reeves, and the Harrison Ford dud K-19: The Widowmaker was so dull that just writing about it makes me ... zzzzzz.

For the full review, click here.

By Matt Brunson

Chance encounters and other extraordinary circumstances of this nature are tricky beasts when it comes to their employment in motion pictures. We swallow them when we want to swallow them -- i.e. when the film in question has us completely in its grasp -- but spit them out without even bothering to chew when we find them too artificial, when they're employed merely for the sake of convenience by a filmmaker who lazily needs to connect Plot Point A to Plot Point B.

For the full review, click here.

By Matt Brunson

If there's one fault to be found with the Coen Brothers' superb Oscar winner No Country for Old Men, it's that there simply aren't enough scenes featuring Kelly Macdonald, the wee Scottish lass who's previously appeared in such diverse works as Trainspotting, Gosford Park and Finding Neverland. Her No Country role as Josh Brolin's sympathetic wife is small but pivotal; to catch her in a part that's both large and pivotal, check out The Merry Gentleman, a low-simmer drama that marks Michael Keaton's directorial debut.

For the full review, click here.

To paraphrase Sen. Lloyd Bentsen's smackdown of Sen. Dan Quayle during the 1988 Vice Presidential Debate: "Bruno, I screened Borat; I knew Borat; Borat was a review of mine. Bruno, you're no Borat."

For the full review, click here.

By Matt Brunson

In terms of sustained quality, I daresay that the Harry Potter franchise trumps all other series featuring more than three entries. That other "Harry," Dirty Harry, falls just short, and even the entertaining James Bond canon has been subject to a few missteps over the decades. But Potter and friends have been delighting movie audiences since first taking their bows in 2001, and the individual works have been so consistently fine that it's no wonder more than one title has been tossed around as the best of the bunch (Harry Potter and the Prisoner of Azkaban seems to be the slight favorite among buffs, although forced to choose, I'd have to go with Harry Potter and the Goblet of Fire). And now here's the sixth installment, Harry Potter and the Half-Blood Prince, to add more fuel to the fiery debate.

For the full review, click here.

Combining a jock's air of entitlement with a slacker's sense of detachment has allowed Steve Zahn to carve out a lengthy (if not exactly stellar) career in all manner of indie fare. Not charismatic enough to hold his own in major-studio efforts, Zahn can usually be found in supporting roles in small-scale efforts, sniffing around the edges while the top-billed stars soak up all the acclaim.

Click here for the full review.

The documentary Food, Inc. is the perfect bookend movie, adaptable to many double-feature bills. When paired with Super-Size Me, it serves as the "before" shot, showing how those hamburgers came into being (so to speak), and how they're made so tasty -- and unhealthy. When paired with The Corporation (still the scariest movie I have ever seen), it functions as a particular case study of the evils detailed in that earlier picture, which was all about how these United States of America have been reconfigured to operate as nothing more than the personal (and profitable) playgrounds of a few select conglomerates and their insidious overlords. Heck, it can even be paired with Howard Hawks' classic Red River, in which Wild West cowboy Thomas Dunson (John Wayne) delivers an impassioned speech about the personal satisfaction of herding cattle and feeding the populace ("... Good beef for hungry people. Beef to make them strong; make them grow ..."). Poor Thomas would (pardon the pun) have a cow if he could see the mechanical means by which animals are slaughtered today.

For the full review, click here.

With Ziggy Stardust for a father, Major Tom for an uncle and, presumably, the spiders from Mars for assorted in-laws, is it any wonder that Duncan Jones chose a science fiction project to mark his feature film debut?

For Matt Brunson's full review, click here.