I didn't know what to do rating-wise with this movie. On one hand, it is one of, if not the most, poorly executed films in the history of cinema. On the other hand, it's funnier than any B-grade, comedy, or cult movie that I've ever seen in my life. No joke. This movie is fun. But I guess I should start with a critical look at it first.

"The Room" stars the mysterious and pale Tommy Wiseau as Johnny, a well off family man who is in a relationship with his "future wife" Lisa (the word "fiancee" is never used once in the movie). You know, he's just your average stringy-haired banker who pays kids' tuition and hangs out with psychiatrists and Kelvin-Klein models. But the shit hits the fan when Johnny doesn't get his promotion ("They betray me, I save them lots of money") and lets Lisa persuade him to drink a peculiar whisky-vodka mix that is not generally recommended to like-minded individuals. Lisa becomes inexplicably bored with Johnny and begins having an affair with his incomprehensibly manly best friend, Mark (Greg Sestero). The rest of the film is a hysterical, surreal barrage of warped dialogue and uncomfortable sex scenes.

The film also creates several subplots that are soon dropped and forgotten. Johnny and Lisa's sexually confused and perhaps mentally challenged Denny (Phillip Haldiman) gets in a tangle with hoodlum Chris-R over drug money; Lisa's mother slowly dies of breast cancer and also struggles with real-estate problems; and Mike (perhaps the most tragically hilarious character of them all) and his girlfriend Michelle continuously sneak into an indifferent Johnny's apartment to have sex. This aspect is one of the funniest of the film, as the vignettes are never mentioned again (with the exception of Mike's incident, which is later mentioned in an equally useless and hilarious scene).

Allow me to give you some back story. Wiseau first started to conceptualize his masterpiece in the form of a novel and play, both of which I would read and attend respectively. However, he soon had an epiphany and decided to turn his idea into a motion picture. Unable to get support from any major studios, he created his own production company, Wiseau Films, and raised $6 million to create and advertise "The Room". Please take a moment now to pause and envision all of the things that you could do with $6 million aside from making a movie. The film was shot in an L.A. studio back-lot. After production had completed, Wiseau proceeded to fund a considerably large advertising campaign, for an indie film lacking screenings at any major film festivals. The film, unsurprisingly, was released to scathing reviews. However, in the years following its release, it has garnered a massive cult following and continues to sell out midnight screenings where large numbers of plastic spoons are thrown at the screen (in reference to the strange amount of silverware featured in the movie, some of which is framed) and clap when characters enter Johnny's apartment (in reference to the film's sitcom-esque layout).

I'll go ahead and say this movie is awful. Horrible. It is profoundly inept, and the bizarre actions that take place over the course of the film cause me to believe that Tommy Wiseau is indeed an extraterrestrial sent to Earth in a desperate attempt for his race to understand our social norms. If this theory is true, "The Room" was his grand presentation on human sociology and he clearly failed the assignment. The acting is awful. The direction is awful. The writing is amazingly awful... need I say more?

Now, as a viewer, I have a totally different stance on this film. It's hilarious. If Wiseau is honest in his claims that he intended "The Room" to be a comedy, then he definitely succeeded and should be heralded as a genius and visionary. Let me put it this way: if Martin Scorsese, Orson Welles, Andrei Tarkovsky, Federico Fellini, Francis Ford Coppella, and Stanley Kubrick were to each attempt to create a movie as bad as "The Room", they would be completely unable to. The film could never be intentionally replicated, obviously, and Wiseau just happened to stumble upon an idea so wondrously horrible that it launched him to the status of cult hero. You need to watch this movie. That's it. It is incredibly entertaining and you will definitely not regret doing so.

Scorsese's concert film is considered among the greatest of its genre, if not the greatest. "The Last Waltz" is the complete opposite of "Woodstock", which Scorsese also worked on. While "Woodstock" details the height of an era, "The Last Waltz" is all about its collapse. It is a somber farewell. But hell, it has some pretty good music, too. With "Waltz", you get one of the greatest lineups in the history of live concerts; Bob Dylan, Neil Young, Muddy Waters, Joni Mitchell, Eric Clapton, Van Morrison... they all tag along for the ride. Plus, Steve Winwood and Ringo Starr make surprise appearances towards the end. And then of course, there is The Band. One of the most underrated, forgotten groups of all time is memorably sustained here with an incredible film. (For some reason RT says that this film stars Dylan and Mitchell, when it should say Robbie Robertson and Levon Helm.)

"The Last Waltz" is beautiful. The shots are all framed perfectly and the music is solid. The singing of "I Shall Be Released" at the end gets to me every time. The one-on-one interviews with the members of The Band are spectacular, and Scorsese proves himself to also be a very talented interviewer. I personally love the surreal account of a concert that The Band performed at Jack Ruby's night club.

This film is historical. Anyone who likes music and documentaries as much as myself will fall in love with it. Even if you don't, you still need to check it out.

Imagine "The Crazies" crossed with "28 Days Later" and "Alien" in an apartment complex with a low budget, and you have David Cronenberg's bizarre "Shivers". I found this movie very entertaining, though I can't really say exactly why. It feels too dark for a campy tone, and is strikingly original (despite all of the aforementioned similarities).

The basic plot revolves around a worm-ish parasites that enter the body through the mouth (or sometimes, according to one scene, the vagina) and causes its victims to become mindless, violently sex-crazed zombies. The sexuality was a strange twist on the zombie genre, and a rather original one as well.

While the acting and writing is sub-par to bad, there are some great moments in the film. Specifically, the contrasting sequences in the opening scene and the climactic scene in the pool. Gotta love Cronenberg.

I recommend this movie to fans of cult horror films and unconventional takes on zombies.

Awkward and filled with ambiguity and alternating closeups, "Manos: The Hands of Fate" is without a doubt the worst feature film ever made, but yet it's also one of the most enjoyable experiences you can have watching a movie. The film is great in both it's forms, with or without MST3K commentary. With the commentary, it is an absolutely hysterical viewing. Without the commentary it is a strange, cautionary tale in film-making that takes one daring viewer to sit all the way through.

You need to see this film just like you need to see "Citizen Kane". It's just as much a hilarious, plot-hole ridden attempt at the Horror genre as it is also a piece of history that any one who has the slightest interest in film needs to see (especially aspiring filmmakers).

I'm not one for most religious movies, but "The Book of Eli" kept me entertained. It tells the story of Eli, (Denzel Washington) a vagrant traveling west across a Wild West-esque destroyed America (Roger Ebert pointed out that it probably wouldn't have taken as long to travel that far as it did in the movie) with a mysterious book in his possession. I don't know if it would be a spoiler or not to say what the book is, so I won't talk.

This movie plays out like a gritty, Christian "Road Warrior" with an admittedly less bad-ass lead (It might have been the religious themes that ruined his coolness for me) that ends up looking kind of like "I Am Legend", a movie which I enjoyed a lot less. Its aesthetics are beautiful at times, but there are many points where the film seems over-stylized.

The performances are decent. I guess it's my fault, but I can't quite take Mila Kunis seriously in this movie, mainly because of her sit-com roots. I guess it's kind of a high point in her film career compared to "Moving Mcallister" and "Max Payne", though. Denzel Washington is exactly what you'd expect, and that's all I'll say about his performance. Gary Oldman, however, contributes the best performance as the corrupt owner of the shanty-town saloon. I've heard a lot of people say that Oldman is the best actor to have not won an Oscar... eh, I don't know about that, but he is a good actor. Oh, and Tom Waits drops by for a minor role. Waits is a good actor as well, but he doesn't really have much to work with as a nameless engineer.

"The Book of Eli", in the end, is a Christian and surprisingly more violent "Road Warrior" with no Mel that has some nice visuals, but that forces morals ("What do you remember about the old world?" asks Kunis. "People had more than they needed." replies Washington, with an iPod in his back-pack.) and stylistics. It's an enjoyable film as long as you can get past some shameless product placement and heavy morals. Also, watch it twice.

Horrible sequel to one of the most innovative horror films of all time. Boring, formulaic, and filled with characters that you come to hate. It has that problem with so many recent horror films whereas random jumps are used when the story gets slow, most of the ghosts are never explained, etc., etc.

I will admit you'll find some pretty funny scenes here, though. (Though they weren't meant to funny.) I laughed out loud when the sheriff waved at the main characters through the TV. I also found a lot of the main characters' arguments to be hysterical. As a horror movie though, it is definitely not anything great compared to the first one. Its concept is pretty interesting, but in the end its execution is very weak.

"12 Monkeys' is a great mind-bending film that might be good to revisit with all the "Inception" buzz in the mist. Bruce Willis, Madeleine Stowe, and Brad Pitt are all excellent in the story of a prisoner who, in the distant future, attempts to gain his freedom by traveling back in time to the 1990s to investigate the cause of the mysterious virus that forced humanity to live underground in the future. The primary flaw with this mission, however, is that everyone in the past thinks that he's insane.

Here you have dazzling, dystopian aesthetics and a warped direction by Terry Gilliam that all adds up to one of the best post- "Blade Runner" sci-fi thrillers to date. This is a film that is definitely worth multiple viewings, despite a sometimes confusing plot.

I watched this movie without reading any reviews after I read the incredible Stephen King novel, and I guess my expectations were a bit too high. "The Running Man" is very, very loosely adapted from the aforementioned novel of the same name, so if you watch this expecting something like the novel, then you'll be disappointed. The film tells the story of a framed man who is entered into a game-show that requires its contestants to fight for their lives against various "hunters" as they are pursued through various areas.

I'm not going to lie, "The Running Man" is an entertaining experience. It's complete with cool action and 80's charm, and if you like movies with that, then you'll enjoy yourself. But that's all it is. It's no "Total Recall", but it's a fun movie.

Now here's a romantic comedy. A hearse-driving, death-obsessed teen falls in love with a free-spirited Holocaust survivor, the only problem being that they're separated by age by a measly sixty or so years. Absolutely incredible. This is a film that has the heart and soul that every "rom-com" should have, though it's far more than just that. This film spits in the face of Jennifer Aniston, and did it a long time before she even started acting.

"Harold and Maude", however, is certainly not for everyone. If you enjoyed more recent films such as "Little Miss Sunshine" and the equally absurd "Punch-Drunk Love", then you probably will like it it. It's quirky, it's dark, and it has one of my favorite endings of all time. Oh, and you have to love Cat Steven's soundtrack, which is one of the greatest film soundtracks to have never been officially released. Whether you're into this kind of movie or not, you definitely have to give it a chance.

Filled with homage to Capra, the Coen Brothers' "The Hudsucker Proxy" is definitely one of their most underrated films to date; a warped poster featuring Tim Robbins with a hula-hoop probably didn't persuade the more shallow movie-goers, and it just didn't seem to sit well with critics at the time. Nonetheless, Robbins' transition from a bumbling graduate hired by a very shady Paul Newman to an arrogant, careless suit makes an incredible performance, as does Jennifer Jason Leigh's energetic portrayal of a fast-talking journalist.

Incredible visuals, fantastic plot, and great performances combine to create a dazzling cautionary satire of the modern corporation that was unusually panned at the time of its release. A decade-and-a-half later, however, it can easily be enjoyed just as much as any of the Coens' other films, especially their additional great comedies. ("The Big Lebowski" and "Raising Arizona" being two) Definitely worth a rental.