Andrea Gronvall

Andy and Larry Wachowski barrel through this adaptation of the 60s animated series, hoping perhaps that no one will notice the story is as flat as roadkill.

The movie's first half is largely free of dialogue, playing like silent comedy, while the second act offers a breathtaking tour of the cosmos.

The exotic plant and animal life is enhanced by the 3D process--which makes the two-dimensional screenplay all the more disappointing. With its weighty dialogue the movie becomes depressing well before the final violent showdown.

Harrison Ford carries this talky, formulaic thriller by virtue of his authority, culled from years in front of the camera, but his performance can't obscure the obvious plot machinations.

The final showdown, in which the critters tangle with security-rigged lawn flamingos and garden gnomes, would have made Rube Goldberg proud.

With its chase scenes, shoot-outs, explosions, and special effects, this looks more like Jerry Bruckheimer product than a traditional Disney feature. But there are also some light-hearted moments, the best occurring at a UFO convention where the aliens seem more normal than the earthlings.

The original movie's lean production complemented its pell-mell fights and car chases; here, third-rate CG effects make the strained action sequences look even more improbable.

Just when you thought camp was dead, along comes this bizarre cross between a Tarantino knockoff and a Hammer horror film.

Cringe-inducing when it's not cliched, this brassy, vulgar 2008 comedy from Australia mines mental disabilities for laughs.

Allen Coulter (Hollywoodland) directed this morose and sluggish drama, which gets more mileage from Pattinson's anguished profile than from Will Fetters's thunderously overwritten screenplay.

A tired, generic crime story.

The extraordinary subject and the filmmaker's near total access make for a singular documentary.

Absolutely nothing funny happens during their drive to Georgetown for an interview, even with Donny Osmond along for the ride.

A crime wave gives the heroine a mystery to solve and provides most of the comedy, but the film is stronger in its dramatic stretches.

The elegiac tone here isn't set just by nostalgia for a vanished lifestyle: bereavement, lost love, and the ever present floodwaters add poignancy to the elliptical story, whose characters float in and out unbidden, and sometimes unexplained.

Zwick, intent on correcting the perception of Jews as passive victims, lets the action set pieces overwhelm the more intimate scenes, several of which are already diminished by stilted dialogue.

The end, a drawn-out death scene, is manipulative and, contrary to the movie's feel-good marketing, likely to upset youngsters.