Crank: High Voltage is bigger and faster than the first film, with more sex and violence, but it also feels less fresh this time around
Jim Jarmusch goes all Godard-arty in The Limits of Control, a painfully slow-moving and (nearly) fatally pretentious film
Harry Potter and the Half-Blood Prince is a much tighter, carefully constructed, leisurely-but-fluidly paced adaptation of the J.K. Rowling books
Mickey Rourke is nothing short of phenomenal in The Wrestler, an intimate, personal drama from director Darren Aronofsky
Public Enemies, starring Christian Bale and Johnny Depp, is Michael Mann’s finest film: an out-and-out masterpiece and an immense technical achievement
Fighting is director Dito Montiel’s solid-if-unspectacular B-movie that knows what it is and is firmly rooted in its origins
Transformers: Revenge of the Fallen doesn’t even work on the level of toy commercial
Kinoautomat was the world’s first interactive movie, which premiered at the World Expo in Montreal back in 1967
Director Sam Raimi returns (sort of) to his Evil Dead roots in the horror comedy Drag Me To Hell
The Hangover is a near-classic old-school comedy that recalls Animal House or Caddyshack
Kevin Smith tries to recapture some of that Chasing Amy magic in the salaciously titled Zack and Miri Make a Porno
Coraline marks director Henry Selick’s return to feature-length animation following a decade-plus absence
The Secret of Moonacre, based on the acclaimed novel The Little White Horse by Elizabeth Goudge, doesn’t have much going for it
A post-apocalyptic man vs. machine war movie, Terminator Salvation plays out like many a video game
I Love You, Man combines a buddy picture with a romantic comedy and hits all the usual notes along the way
There’s a fascinating story about the death of print journalism inside Kevin Macdonald’s State of Play
Bottle Shock looks at the 1976 blind wine-tasting competition in France that declared a Napa Valley wine as the victor
New in Town transports a Miami city girl to Minnesota, and leaves no Harve Gunderson or “don’tcha know” unturned
The Last House on the Left is a jarring, visceral film that is by rights superior to Wes Craven’s 1972 original
Ron Howard still doesn’t have the right feel for the material, but Angels & Demons is a considerably better film
17 Again stars Matthew Perry, who becomes a younger version of himself in Zac Efron
There’s only one problem with Tony Gilroy’s otherwise excellent Duplicity: the tone is all wrong, and it threatens to ruin the film
Star Trek is the kind of Hollywood blockbuster that hasn’t been seen since Spielberg and Lucas were in their prime
My Bloody Valentine, however, is the first horror film to use new 3D technology,and its also been conceived as 3D experience from the ground up