Amy Biancolli

Eisner has almost nothing on his mind, no political rumblings, nothing behind the urge to upgrade vintage trash.

Melissa Rosenberg's screenplay is faithful enough to Meyer's soap-operatic inclinations, but I kind of wish it weren't.

A typical vehicle for Ferrell's atypical humor.

In Step Up 3D, what's going on is: nothing.

A compact British drama that does more with only three people and a few modest settings than most movies do with computerized bloat and a cast of hundreds.

You can't fool me. I know it's actually a parlor game.

A movie about an obese Harlem teenager who's raped by her father and abused by her mother. It's depressing, devastating, harrowing and repulsive. But there are lyric flights of hope interspersed among that raw naturalism, and that's what makes this movie amazing.

Perrier's Bounty puts on a pretty good show: fast, foul, corny, strange.

Handily beats back the evils of boredom.

For Kline's performance alone, The Extra Man is well worth seeing.

The acting is immaculate; the editing is seamless; the imagery is blunt.

This is a handsome, conventional biopic, as fluent and polished as its subject matter.

It's a remarkable film: A gritty, gut-churning, crime thriller based on a true story. Its greatness lies in its unwavering fidelity to human nature and the unstoppable laws of the wild.

What joy it is to watch the man (Douglas) slime himself on camera.

It's harmless.

An imperfect, fascinating film about an imperfect, fascinating man.

It does for hit men what "Up in the Air" did for frequent-flying corporate terminators, minus the comic tang.

Visually, Jonah Hex is an orgy of overstatement: rapid edits, garish colors, harsh light.

This breezy action comedy is a noisy affirmation that life goes on after 50, that retirement doesn't mean redundancy, and that nobody - young or old - can wear a long cream evening gown like Mirren.

In this case, it's considerably better, adapting the 007 template in a story of a crazed bald cat named Kitty Galore (voiced by a hissing, chichi Bette Midler) and her malevolent plot to conquer the world. It's brilliant in its simplicity

This is spellbinding, transporting, damn near indescribable and the latest indication that Christopher Nolan might be the slyest narrative tactician making movies today.

This is a sobering piece of advocacy cinema.

A little movie with a lot of hilarious swearing and an unexpectedly big heart.

It isn't a long journey. Kisses clocks at 72 minutes, which feels something less than feature length. It's long enough to include a few cliches and nagging questions, yet it's short enough to leave you wanting more.

Although this one indulges in unnecessary CGI enhancements, it's still a striking piece of character-driven horror, and it ranks among the more understated fright fests to hit the mainstream in recent memory.

The movie as a whole is a mixed bag, offering up stiff shots of skepticism and a few provocative thoughts on correlation and causality.

The movie's name is Life as We Know It, but that seems incomplete. The predicate's missing. The full sentence should be "Life as we know it is over," i.e., nuked by the sudden and irreversible arrival of a human infant.

In Secretariat, the fictionalized bits are simple exaggerations - broad, Disneyish adjustments in races and other realities.