For 1,277 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

V.A. Musetto's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Innocence
Lowest review score: 0 Controlled Chaos
Score distribution:
1277 movie reviews
    • 69 Metascore
    • 50 V.A. Musetto
    An extraordinary woman like Eva Kor deserves a less ordinary biography.
    • 55 Metascore
    • 50 V.A. Musetto
    Pleasing to the eye, with lavish sets, ravishing costumes and two great-looking stars. Unfortunately, there is little else to recommend this overwrought, melodramatic bodice-ripper.
    • 76 Metascore
    • 50 V.A. Musetto
    Too-convenient coincidences hurt the movie's credibility. A melodramatic script best left to cable TV doesn't help, either.
    • 72 Metascore
    • 50 V.A. Musetto
    The fractured timeline covers five decades, which Miller weaves together, with the past shot in color and the present in black and white. Still, the soapy climax is unnecessary.
    • 65 Metascore
    • 50 V.A. Musetto
    The subject is worth exploring - unfortunately, de Seve does so in a cut-and-dried manner that never explains why these two couples were able to stay together for so long.
    • 68 Metascore
    • 50 V.A. Musetto
    You have to wonder just how true to life the melodramatic depiction of these events is, especially since the film was made in partnership with TV's "Masterpiece Theater."
    • 48 Metascore
    • 50 V.A. Musetto
    Ultimately breaks down under the weight of too many characters and unbelievable twists.
    • 48 Metascore
    • 50 V.A. Musetto
    Pleasant but lifeless love story.
    • 54 Metascore
    • 50 V.A. Musetto
    A toe-tapping, booty- shaking look at Cubans' love of music that gets bogged down in political thoughts that go unexplored.
    • 49 Metascore
    • 50 V.A. Musetto
    The Grudge offers a bit more exposition than did "Ju-On," but the plot is still wispy.
    • 57 Metascore
    • 50 V.A. Musetto
    The fine supporting cast includes Steve Buscemi, as a cynical American doctor who at first doesn't get along with Rabe; and Anne Consigny, as the French head of a local school for Chinese girls.
    • 59 Metascore
    • 50 V.A. Musetto
    The film tastefully handles the sensitive subject, but it lacks the bite that a Michael Moore would have provided.
    • 38 Metascore
    • 50 V.A. Musetto
    Burning Annie has funny moments, but it suffers from an overflow of characters.
    • 48 Metascore
    • 50 V.A. Musetto
    The story is told in fractured time. This might not be a problem if his visuals were more fear-inducing.
    • 54 Metascore
    • 50 V.A. Musetto
    Okuda's debut behind the camera, Shoujyo, is a dirty old man's delight: schoolgirls galore in short skirts or, in Yoko's case, nothing at all. That may be enough for some viewers, but not for those who insist on a story that gives substance to its characters.
    • 72 Metascore
    • 50 V.A. Musetto
    Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.
    • 49 Metascore
    • 50 V.A. Musetto
    None of its characters is especially interesting.
    • 63 Metascore
    • 50 V.A. Musetto
    A sappy look at the title character, a 12-year-old boy who's a math and music prodigy.
    • 62 Metascore
    • 50 V.A. Musetto
    Overall, however, it's sappy and predictable -- fun to watch, perhaps, but instantly forgettable.
    • 50 Metascore
    • 50 V.A. Musetto
    Vincent Bal's film should appeal to kids, cat lovers and felines. I give it two stars, and my cat, Audrey, gives it three meows.
    • 54 Metascore
    • 50 V.A. Musetto
    Corddry leads a game cast, but the film is rough around the edges...It would play better as a TV sketch.
    • 41 Metascore
    • 50 V.A. Musetto
    The documentary is unapologetically one-sided, and spends more time canonizing Abu-Jamal than exploring the murder and trial themselves. Still it raises issues of racism in America (flashback to George Wallace) that are worthy of discussion.
    • 70 Metascore
    • 50 V.A. Musetto
    While I have no argument with Leeson's political views, her presentation -- mostly a succession of talking heads -- is dry and uninspired. These women deserve better.
    • 69 Metascore
    • 50 V.A. Musetto
    The presentation is conventional in style but uplifting in spirit, and worth seeing even if you know nothing about basketball.
    • 70 Metascore
    • 50 V.A. Musetto
    An example of style over substance. There's lots of slo-mo and jittery hand-held camera work, and references to the French New Wave (especially François Truffaut), but little depth.
    • 56 Metascore
    • 50 V.A. Musetto
    What Kamikaze Girls doesn't have is a plot. As nice as the film looks, it soon grows tiresome -- though I could listen to the Johann Strauss II soundtrack forever.
    • 39 Metascore
    • 50 V.A. Musetto
    Whaley gives an earnest performance, especially when he's articulating his frustrations during his monologues. But it's all relentlessly glum. The film, like Jimmy's routines, could use a few good laughs.
    • 58 Metascore
    • 50 V.A. Musetto
    The story is contrived. Would you believe a high-rise window-washer just happening to be cleaning the window of the room where, at that very moment, his wife is being raped by her boss? Didn't think so.
    • 72 Metascore
    • 50 V.A. Musetto
    There's little new in Armadillo.
    • 40 Metascore
    • 50 V.A. Musetto
    The generic plot is redeemed by exciting action sequences, good-looking location photography and a hot sex scene involving a femme fatale named Lea (pixie-haired Melanie Thierry).
    • 37 Metascore
    • 50 V.A. Musetto
    Going Under is the feature directorial debut of 65-year-old Eric Werthman, who has been a practicing psychotherapist for a quarter of a century. If you're not already seeing a shrink, Mr. Werthman, may we suggest that you start immediately.
    • 49 Metascore
    • 50 V.A. Musetto
    It's also sugary and has a silly tear-jerker ending. But I found myself laughing at the film's gentle humor, anyway.
    • 51 Metascore
    • 50 V.A. Musetto
    The three women deliver solid performances, but the film is diluted by the use of flashbacks superimposed over present-time scenes. The result is visual chaos.
    • 46 Metascore
    • 50 V.A. Musetto
    Touches on issues raised in "Bad Education," but without Pedro Almodovar's flamboyant elegance.
    • 51 Metascore
    • 50 V.A. Musetto
    Stick around till the end. You don't want to miss an unexpected cameo from a filmmaker I won't name. Hint: He's short, likes younger women and isn't Woody Allen.
    • 56 Metascore
    • 50 V.A. Musetto
    Albert elicits good performances from her cast, but she fails to give viewers reason to care about their characters.
    • 65 Metascore
    • 50 V.A. Musetto
    Fails to show indignation that rich white guys are trying to get even richer at the expense of a naive black kid from the ghetto.
    • 61 Metascore
    • 50 V.A. Musetto
    Yearning for an exciting African adventure? Oka! isn't it.
    • 55 Metascore
    • 50 V.A. Musetto
    When it comes to magnetism, the Rolling Stones have nothing on Amma, the Indian mahatma ("spiritual guide") chronicled in Jan Kounen's handsomely photographed but one-sided documentary.
    • 50 Metascore
    • 50 V.A. Musetto
    It also gives another black eye to Iranian fundamentalists. It is most unfortunate, then, that the film isn't better.
    • 43 Metascore
    • 50 V.A. Musetto
    The opening and closing scenes are scary and should please fans of the genre, especially at Halloween time.
    • 49 Metascore
    • 50 V.A. Musetto
    The script doesn't offer anything especially new, but Burman infuses the film with innovative lensing and capable acting.
    • 48 Metascore
    • 50 V.A. Musetto
    Despite strong performances by Gerard Jugnot as the crime-busting prosecutor and Veronica D'Agostino as the adult Rita, The Sicilian Girl never lives up to its potential.
    • 68 Metascore
    • 50 V.A. Musetto
    It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.
    • 74 Metascore
    • 50 V.A. Musetto
    As directed by Ole Christian Madsen, the thriller features well-choreographed shootouts and assassinations. But the script is too melodramatic and complicated for its own good.
    • 59 Metascore
    • 50 V.A. Musetto
    Mostly We Are Wizards is a loving, if flawed, tribute to creativity and artistic freedom.
    • 54 Metascore
    • 50 V.A. Musetto
    The acting is super -- these guys know how to be sweet and disgusting -- and the story provides its share of laughs. But after a while, the one-note movie, directed by Felix van Groeningen, grows tiresome.
    • 70 Metascore
    • 50 V.A. Musetto
    Ends in a cascade of sentimentality straight out of Hollywood. Not even Chweneyagae's excellent acting or Lance Gewer's dark photography can save the film.
    • 68 Metascore
    • 50 V.A. Musetto
    Mildly diverting, but lacks humor and pathos.
    • 53 Metascore
    • 50 V.A. Musetto
    The movie is a pleasant way to spend time in the dark, especially for Francophiles, but it won't leave any lasting impression.
    • 53 Metascore
    • 50 V.A. Musetto
    A soggy love story doesn't help this instance of style over substance.
    • 65 Metascore
    • 50 V.A. Musetto
    Fox can't decide if Walk on Water is a terrorist thriller or a gay buddy story, and neither can the viewer.
    • 66 Metascore
    • 50 V.A. Musetto
    If the plot of the Argentine soaper Puzzle seems familiar, that's because it's nearly identical to the story in the French movie "Queen To Play."
    • 52 Metascore
    • 50 V.A. Musetto
    Medina has taken a series of vignettes and fashioned them into a feature film as aimless as Luciano’s life. There’s no buildup or payoff; still, Hendler’s laid-back performance makes Medina’s film worth seeking out.
    • 53 Metascore
    • 50 V.A. Musetto
    Can't overcome the familiar, soapy script.
    • 49 Metascore
    • 50 V.A. Musetto
    The film is well-constructed, as one would expect from Gondry, but it offers little reason for anyone outside the family circle to care about dear old Tante Suzette.
    • 61 Metascore
    • 50 V.A. Musetto
    Gabizon has a great idea. But he ruins it by devoting too much time to colorful but unnecessary characters.
    • 56 Metascore
    • 50 V.A. Musetto
    Everybody involved in 39 Pounds of Love probably had the best of intentions. But watching the filmmakers scurry about to record every last tear, I couldn't help but feel that this twisted little man was being exploited.
    • 64 Metascore
    • 50 V.A. Musetto
    These were people willing to take chances. Would that Trank had taken chances in telling their stories.
    • 54 Metascore
    • 50 V.A. Musetto
    A flawed black comedy about two buddies who open a butcher's shop in a small Danish town.
    • 77 Metascore
    • 50 V.A. Musetto
    Uninspired in style, and Joan Allen's narration is dry.
    • 48 Metascore
    • 50 V.A. Musetto
    What could have been a biting dark comedy is, instead, uninspired and generic. The contrived, everybody's-happy finale just makes things worse.
    • 55 Metascore
    • 50 V.A. Musetto
    Unfortunately, Angelou's detached and often superfluous narration lessens the film's impact.
    • 64 Metascore
    • 50 V.A. Musetto
    You can't help wondering how prisoners who practiced Vipassana fared as free men.
    • 68 Metascore
    • 50 V.A. Musetto
    Debbie, for better or for worse, is the high point of the entertaining but lightweight film, which is better suited to public TV than the big screen. Oh, yes. If anybody should decide to open another beauty school in Kabul, be sure to leave Debbie in Indiana.
    • 61 Metascore
    • 50 V.A. Musetto
    Kids will get off on Bugs! and then go home and have nightmares. Adults who accompany them may have to fight off sleep before they get home.
    • 65 Metascore
    • 50 V.A. Musetto
    The writer-director, who goes by the name J Blakeson, keeps the suspense level high for the first hour or so, but he then indulges in a few plot twists that strain credibility.
    • 30 Metascore
    • 50 V.A. Musetto
    My Way is not, as the title might suggest, a Frank Sinatra biopic. No, it's an eye-popping, empty-headed World War II epic made in South Korea.
    • 52 Metascore
    • 50 V.A. Musetto
    Has a few things going for it -- a winning performance by Luchini and a small role by Pedro Almodóvar favorite Carmen Maura. But these talented folks can't compensate for a plot that strains credulity and lacks badly needed social bite. Wait for the DVD.
    • 72 Metascore
    • 50 V.A. Musetto
    Priceless provides lightweight, predictable entertainment that will make you yearn for the Tatou of yesteryear.
    • 46 Metascore
    • 50 V.A. Musetto
    Dysfunctional families don't come much more messed up than the one in Agnes and His Brothers, a comic drama from Germany.
    • 68 Metascore
    • 50 V.A. Musetto
    Has some truly touching and funny moments. But it goes on for too long and bogs down in a surfeit of characters and unnecessary subplots.
    • 75 Metascore
    • 50 V.A. Musetto
    Will Marcela (wonderful Ana Geislerova) opt for brains or brawn? The answer might surprise you.
    • 38 Metascore
    • 50 V.A. Musetto
    Sweet but not especially original.
    • 55 Metascore
    • 50 V.A. Musetto
    Bogdanich's film contends that the bombing of Yugoslavia by NATO in 1999 was the result of blunders by the West, and that the forces supported by the United States in Bosnia and Kosovo are allied with Osama bin Laden.
    • 82 Metascore
    • 50 V.A. Musetto
    The news footage, so powerful on its own, needs no enhancement. The dramatized scenes only slow the film's momentum.
    • 49 Metascore
    • 50 V.A. Musetto
    There are no women or straight men left in Taipei. At least that's the impression left by Formula 17, in which every single person (except for one child) is a gay cutie.
    • 51 Metascore
    • 50 V.A. Musetto
    There's a lot happening here, perhaps too much. At times, the movie threatens to implode under its own weight. At others, it's wickedly funny.
    • 61 Metascore
    • 50 V.A. Musetto
    It loses direction, turning contrived and sentimental. There's even a touch of Frank Capra.
    • 53 Metascore
    • 50 V.A. Musetto
    Earthwork is best left to TV.
    • 51 Metascore
    • 50 V.A. Musetto
    An overwrought Taiwanese soaper.
    • 58 Metascore
    • 50 V.A. Musetto
    Think you're depressed now? Wait till you see Aurora Borealis, which spends almost two hours watching Ronald Shorter, a suicidal old man, die.
    • 47 Metascore
    • 50 V.A. Musetto
    It would have been nice to learn as much about Sar the man as about Sar the dancer.
    • 52 Metascore
    • 50 V.A. Musetto
    Good-natured, lightweight fun, although clichéd and more suited to DVD and cable than the big screen.
    • 53 Metascore
    • 50 V.A. Musetto
    Most of the dialogue is in English, almost all of the story takes place in the U.S., and there is none of the kitschy fun that gives Bollywood flicks their charm.
    • 57 Metascore
    • 50 V.A. Musetto
    Filled with nostalgia for old Chinese movies, respectable performances and lively kung-fu slapstick.
    • 67 Metascore
    • 50 V.A. Musetto
    The film is generic and uninspired, better suited to public TV than the big screen.
    • 48 Metascore
    • 50 V.A. Musetto
    There is also a fair amount of boy-on-boy sex, which would be the main reason for seeing No Regret, no matter what your sexual orientation might be.
    • 66 Metascore
    • 50 V.A. Musetto
    After sitting a while in front of my computer trying to come with the right word to describe the Argentine soaper Family Law, I've settled on "diverting." You will be entertained, but you won't tax your brain.
    • 64 Metascore
    • 50 V.A. Musetto
    At age 76, Chabrol seems to be just going through the motions, but anyone who has helmed 70 films ("Les Bonnes Femmes" and "La Ceremonie," for example) is entitled to an off day. Look for him to dazzle us next time out.
    • 73 Metascore
    • 50 V.A. Musetto
    Mirikitani is a colorful character and talented artist, and his story tugs at the heart. Problem is, Hattendorf insists on inserting herself in what seems like every other scene, a device that dilutes Jimmy's story.
    • 62 Metascore
    • 50 V.A. Musetto
    The film looks nifty, but the flat and unemotional English-language dialogue lessens its impact.
    • 41 Metascore
    • 50 V.A. Musetto
    The charming cast...brightens up the screen, but the TV-sitcom script does them in.
    • 76 Metascore
    • 50 V.A. Musetto
    Buck is best left to TV, where it will land soon. It's "The Horse Whisperer" that should be seen on the big screen.
    • 40 Metascore
    • 50 V.A. Musetto
    If only its characters weren't such stereotypes.
    • 59 Metascore
    • 50 V.A. Musetto
    The plot of Attitude isn't exactly original and won't have you sitting on the edge of your seat. But Nilsson knows how to create a noirish mood, and some of the camera work is interesting, if pretentious.
    • 54 Metascore
    • 50 V.A. Musetto
    There aren't many surprises as the story unfolds in soap-opera fashion, with a happy ending for all concerned.
    • 69 Metascore
    • 50 V.A. Musetto
    As my cat, Audrey, will confirm, I love animals. But I draw the line at having lions, tigers, gigantic snakes, bears and other predators as pets. Other people have different opinions.
    • 60 Metascore
    • 50 V.A. Musetto
    Offers interesting views of ordinary life in Baghdad that Americans won't find on TV news. But the impact is lessened by the director's failure to let those who think the war is justified have their say.
    • 56 Metascore
    • 50 V.A. Musetto
    Too bad the script is predictable at every turn.
    • 46 Metascore
    • 50 V.A. Musetto
    Matthews is supposed to be the star here, but it's Englund's hilarious, over-the-top performance that keeps Jack Brooks: Monster Slayer, by director Jon Knautz, from becoming another forgettable exercise in horror.
    • 52 Metascore
    • 50 V.A. Musetto
    May be momentarily entertaining, but don't expect anything profound from the lightweight saga.
    • 63 Metascore
    • 50 V.A. Musetto
    An interesting debut for director Pesce, although it isn't worth running out to see. Wait for it to hit the small screen.
    • 63 Metascore
    • 50 V.A. Musetto
    If you're thinking of taking the kids to Bear Cub because the title sounds like something they'd enjoy -- don't!
    • 56 Metascore
    • 50 V.A. Musetto
    The clichéd, heavy-handed script lets them down.
    • 39 Metascore
    • 50 V.A. Musetto
    An uplifting story to be sure, but director-producer David Swajeski doesn't do it justice.
    • 59 Metascore
    • 50 V.A. Musetto
    The script is morose and unfocused - not to mention hard to believe and insulting to women.
    • 46 Metascore
    • 50 V.A. Musetto
    Director-writer Seth Grossman provides a lazy narrative, with stereotypical characters and plot.
    • 62 Metascore
    • 50 V.A. Musetto
    As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.
    • 66 Metascore
    • 50 V.A. Musetto
    Too many cooks spoil the broth, and too many directors spoil the anthology film Paris Je T'aime.
    • 70 Metascore
    • 50 V.A. Musetto
    Caramel, by the way, gets its name from a blend of sugar, lemon juice and water that is boiled until it turns into a paste used to remove unwanted hair in the Middle East.
    • tbd Metascore
    • 50 V.A. Musetto
    Director Michelle Esrick, who followed Wavy around for 10 years, journeys from Manhattan to Woodstock to Nepal to the hills of California to tell Wavy's story. The journey is entertaining, whether you witnessed the 1960s firsthand or heard about it from your grandparents.
    • 48 Metascore
    • 50 V.A. Musetto
    You can't fault the film's elegant look. But you have to wonder why Shakhnazarov, one of Russian's most experienced filmmakers, didn't take more care with the script.
    • 68 Metascore
    • 50 V.A. Musetto
    There's not enough good material to fill the film's overlong 105 minutes. Is there an editor in the house?
    • 59 Metascore
    • 50 V.A. Musetto
    The film works best when we see N'Dour onstage. He has a great set of pipes and is nothing if not charismatic.
    • 57 Metascore
    • 50 V.A. Musetto
    Redmon makes a valid argument, but he belabors the point. Mardi Gras: Made in China would play better if it were more focused and less repetitive.
    • 68 Metascore
    • 50 V.A. Musetto
    The documentary is much too conventional -- lots of boring talking heads, etc. -- to do the subject matter justice.
    • 50 Metascore
    • 50 V.A. Musetto
    There's nothing especially new or interesting about the guests, the party or the movie. One bright note is Nicol Zanzarella as the elegant Susan, a freelance TV editor and co-host.
    • 63 Metascore
    • 50 V.A. Musetto
    Not a definitive portrait of the designer, nor does it pretend to be. But it should be of interest to viewers even if there's not a single YSL label in their wardrobes.
    • 50 Metascore
    • 50 V.A. Musetto
    The result is entertaining but hardly memorable.
    • 68 Metascore
    • 50 V.A. Musetto
    That's all laudable - but Perry, a longtime filmmaker, should have given the doc more urgency and punch.
    • 49 Metascore
    • 50 V.A. Musetto
    Campy and clichéd.
    • 67 Metascore
    • 50 V.A. Musetto
    At some two hours, the film is 30 minutes too long. Cutting out the melodrama and sticking with the daring-do is the answer.
    • 44 Metascore
    • 50 V.A. Musetto
    The non-linear plot makes for confusion and, except for the inspired final shootout, the action sequences are mediocre.
    • 57 Metascore
    • 50 V.A. Musetto
    The screen comes alive only at the end, when a frightening tornado destroys the seaside village.
    • 50 Metascore
    • 50 V.A. Musetto
    Borba keeps referring to himself as "a hero," but the directors, Burt Sun and André Costantini, never delve into his psyche. On the plus side is Costantini's luscious cinematography.
    • 47 Metascore
    • 50 V.A. Musetto
    Pity that the direction and narrative lack passion. If there's anything a story of interracial adultery needs, it's passion.
    • 31 Metascore
    • 50 V.A. Musetto
    Earnest but not terribly original.
    • 41 Metascore
    • 50 V.A. Musetto
    On the plus side, Derek McKane's moody camerawork makes Gotham look grand. Too bad it's wasted on The Last New Yorker.
    • 53 Metascore
    • 50 V.A. Musetto
    If you think you've seen Imaginary Heroes before, you're right -- only it was called "The Ice Storm," or maybe "Ordinary People."
    • 65 Metascore
    • 50 V.A. Musetto
    Has a sexy cast and is gorgeous to watch -- but it takes more than that to make a movie worth seeking out.
    • 71 Metascore
    • 50 V.A. Musetto
    A beautiful but empty-headed documentary.
    • 33 Metascore
    • 50 V.A. Musetto
    Green's odd little movie is clever -- too clever, as it turns out.
    • 34 Metascore
    • 50 V.A. Musetto
    LaBruce devotees will be tickled pink; others will be perplexed and/or disgusted.
    • 66 Metascore
    • 50 V.A. Musetto
    It's rather sweet and life-affirming, although the transformation from sophisticate to peasant happens too conveniently and quickly.
    • 40 Metascore
    • 50 V.A. Musetto
    Gerren's story is fascinating, but Roberts dilutes it by going off on tangents about unsafe cosmetics and phony plastic surgeons. Both topics need exploring - just not here. There's more than enough drama in Gerren's life.
    • 62 Metascore
    • 50 V.A. Musetto
    The classical music is soothing, the cinematography handsome and the acting strong, but the Swedish coming-of-age saga Simon and the Oaks is burdened with a sappy, soap-opera-ish script.
    • 77 Metascore
    • 50 V.A. Musetto
    Direction of all three films is no more than workmanlike, which isn't surprising since they were originally made for British television. The acting, on the other hand, is sometimes superb.
    • 56 Metascore
    • 50 V.A. Musetto
    The result is anti-Army propaganda rather than a balanced piece of reporting.
    • 62 Metascore
    • 50 V.A. Musetto
    Strained and mildly amusing. The real reason to see the movie is the delightful performance by Sara Forestier, who rightly won the French version of the Oscar for her portrayal of the carefree Baya.
    • 44 Metascore
    • 50 V.A. Musetto
    Makes a convincing argument that the decades-old Cuban blockade has outlived its usefulness.
    • 67 Metascore
    • 50 V.A. Musetto
    The longer director Jan Hrebejk's film goes on, the more complex the relationships become, until the film becomes little more than a talkathon.
    • 51 Metascore
    • 50 V.A. Musetto
    If animal slaughter makes you queasy, this movie isn't for you. Along with several cockfights, there's a long scene in which a pig is butchered. The folks at PETA would be most unhappy. People don't fare much better than the animals, with blood flowing in a seemingly unending barrage of violence.
    • 22 Metascore
    • 50 V.A. Musetto
    Levy's innovative movie should appeal to mumblecore fans while perplexing mainstream audiences.
    • 35 Metascore
    • 50 V.A. Musetto
    Fails as a detective story, but it does offer an entertaining look at the punk scene in the 1970s.
    • 53 Metascore
    • 50 V.A. Musetto
    This new movie features stylishly filmed and choreographed battles. But in between the set pieces is a lot of sentimental blather that slows down the film. More action, less talk should be the order of the day, but it isn't.
    • 62 Metascore
    • 50 V.A. Musetto
    Only marginally interesting.
    • 83 Metascore
    • 50 V.A. Musetto
    Despite its stomach-turning images (and maybe because of), it is a daring, provocative work by a talented helmer who gets off pushing the envelope. He should be supported, no matter how outlandish he gets.
    • 52 Metascore
    • 50 V.A. Musetto
    Fails to deliver the dramatic punch.
    • New York Post
    • 68 Metascore
    • 50 V.A. Musetto
    Takita could easily trim 30 minutes of flab and oceans of tears from Departures. It still wouldn't merit an Oscar, but it would be a lot more watchable.
    • 53 Metascore
    • 50 V.A. Musetto
    A melodramatic import from Algeria, is so relevant in this age of global terrorism, it's a shame it isn't much better.
    • 57 Metascore
    • 50 V.A. Musetto
    Best advice: Wait for Two Men Went to War to go to the small screen.
    • 59 Metascore
    • 50 V.A. Musetto
    Juliette Binoche and Benoit Magimel have great chemistry together as the lovers, and the scenes of their lovemaking and frequent battles bring the movie to life. Outside of those moments, however, the film is too stagey, talky - and long - for its own good.
    • 59 Metascore
    • 50 V.A. Musetto
    It's mindless entertainment, so take it or leave it.
    • 62 Metascore
    • 50 V.A. Musetto
    At more than two hours, Cherry Blossoms could do with some pruning. And do husband and wife have to have rhyming names?
    • 82 Metascore
    • 50 V.A. Musetto
    Algenis Perez Soto was a baseball player in real life, which helps to explain his sensitive, understated performance as Sugar. But he's let down by a manipulative script recycled from dozens of sports and immigrant movies. At least it dispenses with a Hollywood ending.
    • 52 Metascore
    • 50 V.A. Musetto
    The siblings react with humor and horror to what they discover. So will many viewers of this self-indulgent but engaging work.
    • 72 Metascore
    • 50 V.A. Musetto
    Sexploitation and art blend uneasily in Crazy Horse.
    • tbd Metascore
    • 50 V.A. Musetto
    Technically competent. What it needs is an original script.
    • 67 Metascore
    • 50 V.A. Musetto
    The contrived script lacks subtlety, rendering most characters as stereotypes.
    • 59 Metascore
    • 50 V.A. Musetto
    Can't decide if it's a martial-arts thriller or a sappy soap opera.
    • 55 Metascore
    • 50 V.A. Musetto
    Gets off to a worthy start, but falls apart about halfway through.
    • 49 Metascore
    • 50 V.A. Musetto
    Mawkish and manipulative, the film isn't worthy of its widely praised German director.
    • 47 Metascore
    • 50 V.A. Musetto
    Unpretentious, TV-style documentary.
    • 60 Metascore
    • 50 V.A. Musetto
    The script falls victim to the stereotypes and clichés so often found in movies about Asian-American families. Still, Lee shows talent, although it might take a feature or two before she finds her own voice.
    • 56 Metascore
    • 50 V.A. Musetto
    Nunez gets nice performances from his cast, but his narrative is cluttered.
    • 54 Metascore
    • 50 V.A. Musetto
    Strictly generic, it does little more than regurgitate the J-horror hits "Ringu" and "Ju-on."
    • 45 Metascore
    • 50 V.A. Musetto
    Never rises above the level of a soap opera, although the steamy sex and Lo's abundant nudity might make it worthwhile for some viewers.
    • 54 Metascore
    • 50 V.A. Musetto
    The premise has potential, but there's no follow- through. And there's no actual zombie mayhem; we learn everything secondhand -- from phone calls to the station.
    • 65 Metascore
    • 50 V.A. Musetto
    Despite the title, there is no nudity in the Chinese rom-com Love in the Buff, although there is a lot of risqué language.
    • 50 Metascore
    • 50 V.A. Musetto
    This is Ebiri's first feature after directing four shorts. He shows talent, but shouldn't give up his day job just yet.
    • 50 Metascore
    • 50 V.A. Musetto
    Szumowska provides lurid scenes of perverted sex, but she offers no new insight into the sordid world of prostitution and the dangers sex workers face. Nor does she flesh out Charlotte and Alicja. The result is a superficial and voyeuristic film.
    • 34 Metascore
    • 50 V.A. Musetto
    The movies of prolific and popular Japanese director Takashi Miike evoke many emotions -- nausea, excitement, awe, amazement, shock. One emotion they don't often evoke is boredom. Sad to say,Dead or Alive: Final is boring.
    • 55 Metascore
    • 50 V.A. Musetto
    All are subjects worthy of discussion, but tackling them in one film disrupts the movie's momentum and shortchanges viewers. Baichwal could have devoted a single film to just BP's disgraceful behavior.
    • 53 Metascore
    • 50 V.A. Musetto
    The opening credits of Gangster's Paradise note that it was "inspired by real events." It would be more accurate to say that the film was inspired by Brian De Palma's "Scarface" and similar fare.
    • 66 Metascore
    • 50 V.A. Musetto
    At 132 minutes, the film is at least half an hour too long. Nobody asked me, but the best solution would be to keep the action sequences (such as the robbery of a horse-drawn steam train, an homage to Sergio Leone's "Once Upon a Time in the West''), and scrap the allegedly "witty'' dialogue and difficult-to-follow plot twists.
    • 56 Metascore
    • 50 V.A. Musetto
    The film's strong point is its stylish, arty look, carefully chosen composition and shadowy lighting.
    • 60 Metascore
    • 50 V.A. Musetto
    The psychobabble makes for dry filmmaking until Schreber starts going fem. From that point on, it's every man for himself.
    • 49 Metascore
    • 50 V.A. Musetto
    Too bad it lacks a substantial story to go along with the kick-ass combat scenes.
    • 55 Metascore
    • 50 V.A. Musetto
    3
    Tykwer exhibits a fondness for split screens and other eye candy but no interest in formalities like character and plot development. By the time we reach the kitchy final scene, we've had our fill of visual tricks.
    • 63 Metascore
    • 50 V.A. Musetto
    Performances are up to par, but the story unfolds conventionally - it lacks the fragmented fury of its predecessor. You might call it "City of God Lite."
    • 71 Metascore
    • 50 V.A. Musetto
    It's a touching story that deserves to be told. Unfortunately, Slesin's presentation is conventional and uninspired (lots of boring talking heads). These heroes deserve better.
    • 60 Metascore
    • 50 V.A. Musetto
    It would have been funnier at half that length.
    • New York Post
    • 68 Metascore
    • 50 V.A. Musetto
    The film is conventional in style and is likely to mean more to the sadly forgotten musician's fans than to others.
    • 61 Metascore
    • 38 V.A. Musetto
    Pretty but tedious Euro-pap at its most self-indulgent.
    • 59 Metascore
    • 38 V.A. Musetto
    If you go to the movies to ogle topless young women, Simon is definitely for you. If, on the other hand, you want something more cerebral with your $10 ticket and overpriced snacks, stay clear of this Dutch melodrama.
    • 32 Metascore
    • 38 V.A. Musetto
    Has little to offer beyond titillation and pretty landscapes.
    • 65 Metascore
    • 38 V.A. Musetto
    Adams and the school's students and teachers deserve an A-plus, although the film rates a much lower grade. It unfolds lifelessly, as Binzer parades a contingent of talking heads before the camera in what could pass for an infomercial.
    • 59 Metascore
    • 38 V.A. Musetto
    A movie more interested in shocking than in entertaining.
    • New York Post
    • 70 Metascore
    • 38 V.A. Musetto
    Schmaltzy and contrived.
    • 45 Metascore
    • 38 V.A. Musetto
    The film is light on those kitschy musical numbers that make Bollywood movies fun to watch.
    • 50 Metascore
    • 38 V.A. Musetto
    It's a worthy idea, but the uninspired scripts, acting and direction never rise above the level of an after-school TV special.
    • 63 Metascore
    • 38 V.A. Musetto
    Deadly dull.
    • 34 Metascore
    • 38 V.A. Musetto
    Why make a documentary about these marginal historical figures? Wouldn't one about their famous dad, author of "Death in Venice," etc., be more valuable?
    • 62 Metascore
    • 38 V.A. Musetto
    There are a few scares, but not enough to make up for the murky script.
    • 43 Metascore
    • 38 V.A. Musetto
    Provides a few minor thrills, but overall is talky and implausible.
    • 51 Metascore
    • 38 V.A. Musetto
    A bland look at professional surfing.
    • 69 Metascore
    • 38 V.A. Musetto
    Director Ferzan Ozpetek's film doesn't break any new ground; rather, it recycles every cliché about gays in what is essentially an extended soap opera.
    • 49 Metascore
    • 38 V.A. Musetto
    The story is superficial at best. And the movie is too long.
    • 44 Metascore
    • 38 V.A. Musetto
    The landscape cinematography is often eye-pleasing, but the script is labored, filled with clichés and never allows for character development.
    • 49 Metascore
    • 38 V.A. Musetto
    Beautiful but boring.
    • 40 Metascore
    • 38 V.A. Musetto
    Lackluster anime.
    • 59 Metascore
    • 38 V.A. Musetto
    Fails to elicit any substantive information from his (Tommy Davis) subjects. And he fails to put their plight into perspective.
    • 53 Metascore
    • 38 V.A. Musetto
    Allah made me funny - not.
    • 64 Metascore
    • 38 V.A. Musetto
    A lightweight French comedy worth watching only for Cecile de France. The gamine actress - decked out in short reddish hair, black tights and a thigh-high mini - is charming as Jessica.
    • 61 Metascore
    • 38 V.A. Musetto
    The comedy is without distinction and the conclusion is melodramatic. I must note that ads for the film are misleading because they give no hint of the dark side of The Bubble.
    • 57 Metascore
    • 38 V.A. Musetto
    Your baby is near death. Instead of dropping everything to save his life, you make sure the video camera keeps rolling.
    • 54 Metascore
    • 38 V.A. Musetto
    Amu
    Fails to grab the imagination as it unfolds in familiar TV-movie fashion.
    • 48 Metascore
    • 38 V.A. Musetto
    A documentary hardly anybody has been waiting for.
    • 54 Metascore
    • 38 V.A. Musetto
    Katie Aselton has achieved the seemingly impossible. She's turned a movie about sex into a boring, talky snooze.
    • 62 Metascore
    • 38 V.A. Musetto
    Harper and the film's director, Jeremy Kagan, try valiantly, but they are unable to bring Meir to life or hold viewers' attentions.
    • 46 Metascore
    • 38 V.A. Musetto
    It is a boring parade of talking heads and technical gibberish that will do little to advance the Linux cause. Try again, guys.
    • 29 Metascore
    • 38 V.A. Musetto
    13
    While the original was an art-house success, this English-language redo, now getting a one-week run after sitting on the shelf for a year and a half, doesn't measure up.
    • tbd Metascore
    • 38 V.A. Musetto
    It's an interesting story, but the presentation is more like a home movie than something you'd pay to see in a theater.
    • 47 Metascore
    • 38 V.A. Musetto
    Will go down in history as the movie that showed a turtle getting an enema. It also features a hot performance by Marguerite Moreau.
    • 52 Metascore
    • 38 V.A. Musetto
    Sillen drags out generic talking heads who say generic things about Bernstein, a generic boho. The film might suffice if you're looking for something to watch on cable TV some early morning. But it isn't worth the hassle and expense of going to a theater.
    • 57 Metascore
    • 38 V.A. Musetto
    Colpaert makes nice use of blue and green hues, and he makes some valid points about the Iraqi war. But the script lacks coherence and ends with a 180-degree flip that lessens the impact of what has gone before.
    • 49 Metascore
    • 38 V.A. Musetto
    So beautifully filmed (as if through a gauze curtain), it is especially sad that the script doesn't measure up.
    • 31 Metascore
    • 38 V.A. Musetto
    The NYU film grad steals liberally from Woody (especially "Annie Hall") - from camera placement to body language to plot twists to the whole Ingmar Bergman thing. That's not necessarily bad, if the project works. This one doesn't - it just annoys.
    • 70 Metascore
    • 38 V.A. Musetto
    Is nothing sacred? In the schizophrenic war epic The War lords, Jet Li, the hunky action hero, cries -- no, make that sobs -- several times. What will his legion of young male fans think?
    • 52 Metascore
    • 38 V.A. Musetto
    Wavers uncomfortably between satire and dime-store existentialism on the big screen. It's sort of as if Charlie Kaufman rewrote "The Fountain."
    • 39 Metascore
    • 38 V.A. Musetto
    The result is a hodgepodge of plots and styles, a fault compounded by stiff acting and, except for a few scenes, wooden direction.
    • 28 Metascore
    • 38 V.A. Musetto
    A self-indulgent work.
    • 45 Metascore
    • 38 V.A. Musetto
    Here the characters aren't compelling enough to ask viewers to give their brains a workout to determine exactly what's going on.
    • 45 Metascore
    • 38 V.A. Musetto
    Director Jacob Rosenberg makes heavy use of family photos and talking heads, but the person we want most to hear from, Way himself, is largely missing. Go figure.
    • 19 Metascore
    • 38 V.A. Musetto
    After Fall, Winter would play better minus at least half an hour of flab.
    • 47 Metascore
    • 38 V.A. Musetto
    A plot? Tony Jaa don't need no stinking plot.
    • 47 Metascore
    • 38 V.A. Musetto
    The movie's only redeeming qualities are its stars.
    • 43 Metascore
    • 38 V.A. Musetto
    But by the time events unfold, viewers will most likely have given up on this melodramatic.
    • 53 Metascore
    • 38 V.A. Musetto
    Gil Kofman has an interesting and funny story to tell in his documentary Unmade in China. Too bad he spends more time talking about himself than detailing his misadventures in Xiamen, China, population 3.67 million.
    • 57 Metascore
    • 38 V.A. Musetto
    The preachy movie is hardly worth the hassle and money required to see it in a theater. Better to download it or wait for it to pop up on TV.
    • 51 Metascore
    • 38 V.A. Musetto
    Lilien is an amateur filmmaker, and his movie -- which at times is more about Lilien than Pale Male -- shows it.
    • 49 Metascore
    • 38 V.A. Musetto
    Might have worked as a travelogue, minus the story. In its present form, it is hardly worth the $10 you will be asked to fork over at the box office.
    • 60 Metascore
    • 38 V.A. Musetto
    Something high schoolers might yawn through in history class, but they have no choice. You do.
    • 46 Metascore
    • 38 V.A. Musetto
    Clichéd stories, clichéd characters. All that's missing is Ed Burns.
    • 59 Metascore
    • 38 V.A. Musetto
    Viewers are left wondering just why they should care about them and the rest of the film's one-dimensional characters.
    • 49 Metascore
    • 38 V.A. Musetto
    Love in Space is just what movie fans have been waiting for: a romantic comedy from Communist China.
    • 35 Metascore
    • 38 V.A. Musetto
    There are a few sweet moments as the story reaches its unsurprising conclusion. But, all in all, Flakes isn't going to bowl you over.
    • 50 Metascore
    • 38 V.A. Musetto
    There are some funny moments, plus occasional nudity and sex, but the joke quickly wears off. What might have worked as a half-hour TV show doesn't suit itself to a feature-length film.
    • 64 Metascore
    • 38 V.A. Musetto
    Arlyck spends more time following himself and his own lefty family than checking up on Sean.
    • 50 Metascore
    • 25 V.A. Musetto
    Skip it, and rent "The Adventures of Priscilla, Queen of the Desert" instead.
    • 22 Metascore
    • 25 V.A. Musetto
    Brainless and pointless.
    • 38 Metascore
    • 25 V.A. Musetto
    An amateurish, pointless exercise in filmmaking.
    • 41 Metascore
    • 25 V.A. Musetto
    There's plenty of material here for a dark comedy, but director Martin Curland isn't up to the job. His film - like Luke - plods along, unsure of exactly what it's supposed to be.
    • 48 Metascore
    • 25 V.A. Musetto
    Politics aside, Trudell plays like an infomercial for its subject rather than a serious examination of the man and his beliefs.
    • 42 Metascore
    • 25 V.A. Musetto
    There's certainly a good movie to be made about Muslim punk musicians in the US, but this isn't it.
    • 52 Metascore
    • 25 V.A. Musetto
    What's Vincent to do? Will he come out of the closet? Will he lead the swim team to victory at the big match? Will he find happiness with Noemie? Does anybody care?
    • 51 Metascore
    • 25 V.A. Musetto
    One big cliche.
    • 36 Metascore
    • 25 V.A. Musetto
    Would that somebody had fired Gurwitch before she could have finished Fired!
    • 28 Metascore
    • 25 V.A. Musetto
    The script is obvious and cliched and the action is more disgusting than frightening.
    • 28 Metascore
    • 25 V.A. Musetto
    Marlene Rhein has directed 40 music videos, including ones for Tupac Shakur and Amy Winehouse. Judging by this, her feature debut, she should stick with the music.
    • 47 Metascore
    • 25 V.A. Musetto
    Utterly predictable and full of trite dialogue.
    • 37 Metascore
    • 25 V.A. Musetto
    Dom DeLuise, as a fruitcake director, and John Waters fave Mink Stole, as Robin's Jewish mother, spice things up, but not enough to make Girl Play worthwhile.
    • 30 Metascore
    • 25 V.A. Musetto
    The autobiographical script meanders and the acting never solidifies. Besides, the leads look too old to be in high school - maybe even college.
    • 44 Metascore
    • 25 V.A. Musetto
    The story is so contrived and the dialogue so stilted that no amount of talent could save Exist.
    • 36 Metascore
    • 25 V.A. Musetto
    Tucker's message is sometimes on target, even if his film isn't.
    • 24 Metascore
    • 25 V.A. Musetto
    The dialogue is banal and the acting, especially Wortham's, is unconvincing. Even the sex and nudity, of which there is a lot, grows tiresome after a while.
    • 44 Metascore
    • 25 V.A. Musetto
    Little more than a rehash of old news.
    • 34 Metascore
    • 25 V.A. Musetto
    Has a split personality. It starts as a comedy but morphs into an icky family melodrama. It should have stuck with the yuks.
    • 33 Metascore
    • 25 V.A. Musetto
    Nothing would help make this dud understandable.
    • 20 Metascore
    • 25 V.A. Musetto
    The movie, directed by Mick Jackson, leaves no cliché unturned, from the predictable plot to the characters straight out of central casting.
    • 58 Metascore
    • 25 V.A. Musetto
    The film's violent finale comes out of nowhere and will leave bewildered viewers wondering if they might have dozed off for a reel or two.
    • 56 Metascore
    • 25 V.A. Musetto
    Mostly The Matador romanticizes a brutal tradition that has no place in the 21st century.
    • 43 Metascore
    • 25 V.A. Musetto
    The writing, acting and direction are so amateurish that the only thing you'll care about is escaping the theater.
    • 42 Metascore
    • 25 V.A. Musetto
    There are many new Japanese movies that deserve a stateside release. Why this hapless mess beat them out is a question that deserves an answer.
    • 62 Metascore
    • 25 V.A. Musetto
    Now that even Woody Allen has stopped making "Woody Allen movies," you would think that wannabes would move on, too.
    • 57 Metascore
    • 25 V.A. Musetto
    Ohayon doesn't judge Thompson or his customers, but you don't need to be a Harvard-educated psychiatrist to realize that the bunch of them are dirty old men who treat women as commodities.
    • 55 Metascore
    • 25 V.A. Musetto
    There are a few exciting battle sequences and the sets are lavish, but mostly the film meanders aimlessly for more than two hours. No wonder new sword-and-sandal movies are in short supply.
    • 24 Metascore
    • 25 V.A. Musetto
    With so many worthy movies being made in Europe, it's a crime that something as mediocre as Erotic Tales gets a release here.
    • 13 Metascore
    • 25 V.A. Musetto
    Makes little attempt to be credible or original. And the acting is poor.
    • 15 Metascore
    • 25 V.A. Musetto
    The overall result is superficial and deadly boring.
    • 55 Metascore
    • 25 V.A. Musetto
    Silly and pointless film.
    • 25 Metascore
    • 25 V.A. Musetto
    Will there be a “Hatchet IV’’? I shudder to think about it.
    • 53 Metascore
    • 25 V.A. Musetto
    Proves, if anything, that sappy feel-good movies aren't restricted to Hollywood.
    • 46 Metascore
    • 25 V.A. Musetto
    Saw
    Promoted as "the year's scariest movie," it's anything but.
    • 58 Metascore
    • 25 V.A. Musetto
    Sexist, racist humor abounds, with Jews and gays especially taking a beating. I don't always object to non-PC humor -- but I like it to be funny, and here it isn't.
    • 8 Metascore
    • 25 V.A. Musetto
    Schwartz throws in so many characters and implausible subplots - none worth mentioning - that Perception sinks under its own weight.
    • 62 Metascore
    • 25 V.A. Musetto
    Let the French stick to love stories and leave stupid comedies to Tinseltown.
    • 43 Metascore
    • 25 V.A. Musetto
    The documentary tells us little we don't already know and is overwhelmingly one-sided. It would make a nice TV infomercial, but certainly doesn't deserve a big-screen release.
    • 46 Metascore
    • 25 V.A. Musetto
    If the sight of naked, sweaty French hunks gets you going, well, then, Three Dancing Slaves is a must-see.
    • 46 Metascore
    • 25 V.A. Musetto
    Zhang Yimou, one of China's best-known filmmakers, deserves a great big lump of coal in his holiday stocking thanks to his ludicrous soap opera The Flowers of War.
    • 52 Metascore
    • 25 V.A. Musetto
    There is, of course, a maximum of blood and gore. Sometimes the director's ideas work; often they don't.
    • 34 Metascore
    • 25 V.A. Musetto
    Isn't very good. Not only has Ritter made his documentary a one-sided one, but he commits the journalistic sin of using himself as the film's main talking head. In other words, he's interviewing himself.
    • 47 Metascore
    • 25 V.A. Musetto
    The Italian film industry must be in sad shape when its latest import to the US is a tired bit of trash from 1997, To Die for Tano.
    • 35 Metascore
    • 25 V.A. Musetto
    Huppert is wonderful, as usual, and she's to be congratulated for taking this daring role. But, alas, even she can't save Ma Mere.
    • 36 Metascore
    • 25 V.A. Musetto
    Anybody involved in the underground scene might get a kick out of Maestro -- but others will likely be bored stiff.
    • 61 Metascore
    • 25 V.A. Musetto
    Maybe being able to look back in time is comforting for Block and company, but what makes him think complete strangers give a damn about his not-especially-interesting family? I certainly don't.
    • 46 Metascore
    • 25 V.A. Musetto
    Mainstream moviegoers will be put off by the subtitles, and art-house fans will be insulted by the story's shallowness.
    • 56 Metascore
    • 25 V.A. Musetto
    Garcon Stupide features the best gay seduction scene ever filmed on a Ferris wheel. Unfortunately, you have to sit through the entire movie to get to it. Whether you want to will depend on your interest in explicit gay sex.
    • 33 Metascore
    • 25 V.A. Musetto
    A cheesy and unpleasant splatterfest.
    • 71 Metascore
    • 25 V.A. Musetto
    Boring.
    • 40 Metascore
    • 25 V.A. Musetto
    We keep waiting for one of those outlandish musical treats to bring some life to the clichéd script. Kunder throws in a few breaks, but they're tepid and brief.
    • 61 Metascore
    • 25 V.A. Musetto
    The story lacks focus. The senses blur as wives and ex-wives come and go, and Harry regularly falls off the wagon, only to reform the next day.
    • 40 Metascore
    • 25 V.A. Musetto
    Directed by Susan Montford, While She Was Out is a straight-to-DVD movie making a brief stop in theaters.
    • 29 Metascore
    • 25 V.A. Musetto
    Ranks high on the squirm meter. But, unlike in most of her earlier work, there's no emotional payoff.
    • 47 Metascore
    • 25 V.A. Musetto
    Has a promising start. But it quickly becomes tiresome and cliché-ridden - not to mention depressing and pointless.
    • 48 Metascore
    • 25 V.A. Musetto
    Andy Lau and Siu Fai Mak, the men behind the successful Hong Kong police thriller trio "Infernal Affairs," should be arrested for directing Initial D.
    • 42 Metascore
    • 25 V.A. Musetto
    There's little reason to see the claustrophobic Chronicling a Crisis unless you have a fascination with the Kolleks. Watching the vanity project is like being forced to sit through a friend's boring home movies.
    • 40 Metascore
    • 25 V.A. Musetto
    Sex can be fun and exciting and wonderful. It also can be deadly boring, as in Psychopathia Sexu alis.
    • 41 Metascore
    • 25 V.A. Musetto
    Splinterheads might suffice some late night on cable, but that's about it.

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