Kimberley Jones

This frequently offensive and doggedly disgusting film about working in the restaurant industry is technically inept and wholly crude.

The improbable but true triumph of 19-year-old amateur American golfer Francis Ouimet at the 1913 U.S. Open is given the David and Goliath treatment.

Joss Whedon’s Western/sci-fi hybrid (which was canceled from TV but greenlighted for the movies) evinces the kind of swashbuckling bonhomie that made so many of us fall in love with the original Star Wars films.

Director Showalter (Comedy Central’s Stella) misses a terrific opportunity to pull back the curtain on “the other guy” – the Baxter is the lead man’s second fiddle in your standard romantic comedy – and ends up making a pretty good case for why the sad sack never gets the girl.

At once tremendously dense and gossamer-thin, this period romance/sci-fi hybrid from Hong Kong auteur Wong Kar-Wai is a riot of sight and sound that has an irresistible, elemental pull.

A musician and an actress circle and sniff, and generally run through every cliché in the why-can’t-we-be-together playbook.

With this film built on a host of remarkably nuanced Southern characters, first-time filmmaker Phil Morrison announces himself with assurance and uniqueness of vision.

A standout, a gross-out comedy that makes its audience go “awwww” as much as it goes “ewwww.”

Gus Van Sant concocts an abstruse film “loosely inspired” by the end of Kurt Cobain’s life.

Teens, suburbia, five sets of dysfunctional parents, and the suicide that looms over it all.

Movie about master manipulators and the people who love them is rife with surprises.