Andrea Gronvall

Provost and cowriter Marc Abdelnour explore the mutable boundaries between spirituality, naivete, genius, and madness, showing how the two outsiders and polar opposites cultivated a mutual understanding.

Chris Klein steals the film as a rival ex-nerd, now the most gorgeous guy in town, while director Roger Kumble (Cruel Intentions) cribs from the Farrelly brothers and the Three Stooges.

Matt Dillon almost runs away with the movie as a preening, conniving NASCAR champ who may be dumber than a box of rocks but realizes there's something up with the VW.

Less magic also means less fun and discovery, as Harry battles depression and a hostile press; this is the bleakest Potter installment to date, and under David Yates's choppy direction, Maggie Smith, Emma Thompson, Brendan Gleeson, and David Thewlis have little more than walk-ons.

Tongue-in-cheek dialogue, inventive slapstick and fight sequences, and luminous production design make this a treat.

Bitchy cheerleaders and swimming pool catfights are just two of the tedious cliches propping up this brittle comedy.

This sequel improves on the 2005 original about four friends.

It loses steam once the wraiths become fully visible: they're just not scary enough.

It is only in the sequence about Berg's popular costar Philip Loeb that Aviva Kempner's documentary resonates. Loeb, an ardent union activist who was blacklisted during the McCarthy hearings, comes across as more identifiably human than the workaholic Berg, for all her fictional character's warmth and her many admirers' tributes.

Years on the Hannah Montana TV series have not adequately prepared Miley Cyrus for screen acting.

Director Juan José Campanella weaves together two love stories--between the victim and her husband, and the investigator and his former boss (Soledad Villamil)--and creates some masterful set pieces; his breathless chase through a packed soccer stadium is a marvel of choreography and top-notch CGI.

"Weird but cool," as one character says -- yet the movie is also remarkably touching.

Eva Mozes Kor, the lecturer and activist at the center of Forgiving Dr. Mengele, is most notable for her zeal in refusing to be a victim.

Drawn to these fumbling kids, Hurt gradually opens up about his one great, tragic love (Maria Bello), but any catharsis is circumvented by his floundering costars and their risibly cornpone dialogue.

To call this Kevin James comedy fatuous might be misinterpreted as an attack on the star's girth--so how about inane, tepid, lazy, puerile, phony, and unfunny?

This quirky indie romance is beguiling at first but later succumbs to artifice.

Henry Hübchen is dynamic as the title character.

It's not scary because not one second is believable.

The ability of faith to reintegrate a damaged personality is one theme here, although the film doesn't strive for psychological realism; in its heartfelt embrace of religion as ethical path, it owes more to the bygone Yiddish drama than to psychodrama.

Moodysson’s meticulous attention to surfaces allows him to draw a stark contrast between the Americans’ affluence and the Asians’ poverty, but his final observation--that somehow the rich will muddle through--is hardly a bold statement.

This bloated 2006 historical epic flatlines early and never regains a pulse.

Characters occasionally address the camera, which helps disentangle the competing story lines of madness, adultery, and betrayal.

Jayce Bartok--who plays Stanford's irresponsible musician brother--wrote the screenplay, whose central story of doomed young love gets lost amid the overplotting.

Stunning vistas of New Zealand's rolling countryside aren't enough to carry this lame 2006 horror spoof.

Costars John Cleese, Jean Reno, Alfred Molina, Andy Garcia, and Jeremy Irons look either bored or desperate, gasping for laughs in an airless screenplay.

Director Kevin Reynolds strikes a good balance between action and romance in this version of the medieval legend, but his leading man is upstaged by the supporting cast.

Smarter than its predecessor, the movie aims for the "High School Musical" market.

Except for one manipulative deathbed scene, Ken Kwapis directs with sensitivity, steering the multiple story lines toward a satisfying conclusion.