New house, new family, same problems, in this rare sequel that is not only a worthy follow-up to the original but also improves upon it by adding extra depth to the story.

Not recommended for the faint of heart, weak of stomach, those easily offended by male nudity, feces, sex toys, more feces, vomit, vomit, vomit, gratuitous injuries to every body part, or anyone who doesn’t think it’s funny when lunatics hit each other in the groin.

James Gandolfini carries this quiet, thoughtful film that is not always pleasant, but will stay with you long after the credits have rolled.

More than just a biographical documentary, this film is a veritable history of cinematography, and of cinema itself, told in an engaging and entertaining way. Not to be missed for film school alumni and movie buffs alike.

Clint Eastwood’s somber meditation on life after death is every bit as ponderous as you’d expect. In the hands of this superlative director, it’s also very watchable.

A pitch-perfect parody of over-the-hill action heroes nails and sustains the right tone throughout. Of course, when you’ve got Helen Mirren stationed behind a mounted machine gun, how can you fail?

Wes Craven’s so-called "return to movie-making" is a disappointing, muddled mess.

The story of the great racehorse has been reduced to a slickly-produced, shiny, pretty thing that is nice to look at but, for the most part, incredibly vapid.

Katherine Heigl’s latest is the chick flick antidote to the season’s string of horror movies. It’s neither particularly good nor particularly offensive, not to mention particularly memorable.

A great exercise in low budget filmmaking but not much of a monster movie.