The festival's audience is as integral a part of the proceedings as the music, and we get a rich portrait of the wide variety of pranksters, iconoclasts, and freaks that descend upon the West Country of England in the hundreds of thousands every year. Glastonbury offers an exhaustive look at what remains the largest event of its kind.

The more unpleasant aspects of the case are minimized in favor of telling the story and highlighting the effects of the case on these four men. It drags in spots, but even if Fincher hasn't hit it out of the park, Zodiac is easily a stand-up triple.

300 is a feast for the senses (well, two of them anyway) and an impressive technical achievement. More than that, it's a hell of a lot of fun.

When the most sympathetic character in your comedy is a skinhead, you’re definitely on to something, and Jensen definitely is here.

What's more refreshing about Severance is how the movie's humor offsets the violence, and even that is pretty restrained (at least by modern standards).

Does it herald a renaissance in the action genre? Not really, but it's a welcome throwback to good old-fashioned, '80s-style lunkhead violence, and no one takes a punch, kick, elbow, or bullet quite like John McClane.

Stunningly animated, cleverly scripted, and genuinely humorous.

It’s funny, it’s smart, and it pokes fun at exactly the things it should (organized religion, big business, and audience itself).

Ultimately a story about the American mindset post-9/11, Right at Your Door is also a much more personal tale, as it forces all of us to consider what we would do if the chips were down.

A genuinely engrossing film.

Quite possibly Clooney’s best effort to date.

Decent vampire movies are few and far between, and I’m having a hard time remembering a recent one that impressed me like 30 Days of Night.

I think this one of the first King movies to legitimately give me the creeps.

A straight-ahead exercise in brutality.

For all of its shortcomings, Wanted is a strangely enjoyable flick.

Better than the first in some ways: the superfluous Agent Meyers is gone, Doug Jones is great as Abe, and Strauss is an amusing addition (if almost structurally identical to Kroenen).

Noonan's life is one few of us can comprehend, and Mac Intyre's documentary, A Very British Gangster, is like a Guy Ritchie film come to life, only with a better dressed cast.

Changeling is an almost universally impressive all-around effort, and is the best "dirty underbelly of Los Angeles" movie since "L.A. Confidential."

We Are Wizards is a nifty look at a few small but significant slices of Potter mania that evokes interest rather than provoking disdain, not always an easy feat.

Star Trek is pretty damn enjoyable. By resetting the franchise to what is essentially Year One, Abrams has the luxury of...gently reshaping the core characters.

Desperate Acts of Magic is a pleasant little film.

If you didn't like "Charlie’s Angels," there’s a good chance you'll enjoy the smarter, sexier D.E.B.S.

Too often, the movie follows up Adams’ chaotic humor with weak slapstick and the incongruous love story.

What sets Bier's film apart from similar fare are the consistently fine performances and powerful scenes of surprising ferocity.

May not be much more than a story about girlfriends growing up, and it's not going to score any points for edginess, but it's entertaining in a low-key, non-threatening kind of way.

While Howl’s Moving Castle is far from perfect, it’s still a very good movie. It’s just not a great one.

I thoroughly enjoyed the street level perspective of the world being destroyed, it just would've been nice if they hadn't crapped out at the end.

What really grabs your attention about Undead, however, are the effects. For a movie budgeted under $1 million, the Spierigs have done an amazing job putting together believable visuals.