Chris Kaltenbach

Brimming with values that should serve its young audience well: altruism, friendship, self-sacrifice, responsibility.

A grade-B rumination on what a nasty guy the devil can be.

The cinematic equivalent of a beautifully wrapped gift box with nothing inside.

It fails to dig beneath that surface picture and offer up anything in the way of explanation or motivation.

Come Undone would have benefited immensely from less constricted performances from Elkaim and Rideau, both of whom go through the film determined not to crack a smile.

Some might find the whole thing exhilarating, but exhausting is more the word that comes to this man's mind.

There's enough here to keep the movie light and avoid the curse of interminableness. Will there be enough to warrant a third Scooby-Doo film? Must we find out?

Yes, the movie asks hard questions, but it would be better - or at least more honest - if it weren't so insistent that everyone arrive at the same answer.

The movie's already peaked, even before the opening credits.

Would have been better served if Carrera had spent a little more energy developing his story and less on emphasizing his message.

True, John Ford and John Wayne did this stuff a lot better back in the day, but they're not around anymore. John Singleton is, and it's nice to see someone caring enough to keep the tradition alive.

It's considerably flawed. It has a middle that's padded, a look that could use a few more light bulbs, a protagonist who never earns our sympathy, and an audio mix that leans much too heavily on the bass, often making it impossible to understand what's being said.

There's an awful lot of kinetic energy to Chopper, and the violence is portrayed as graphically as imaginable.

Stars Juliette Binoche and Jean Reno give Jet Lag everything they've got. Too bad the movie doesn't better reward their effort.

Even a full week after seeing it, I'm still influenced enough by the film's many enchantments not to be overly concerned with its flaws.

Blue Crush is such a blast to look at, it seems a shame to talk about its formulaic plot, cliched dialogue and absolute predictability.

The Punisher punishes. That's what he does, and that's all this movie does.

A working-class drama that has its heart in the right place but undercuts itself by stacking the deck, letting its main character off too lightly and being overly impressed with its own profundity.

Instead of a sweeping epic, this adaptation of a novel by Elizabeth Bowen is much quieter, a work perhaps too understated and stereotypical for its own good.

It would be nice to say that Bruce is hilarious, rather than merely (and fitfully) funny; certainly, the premise suggests laughs more consistent and outlandish than are present here.

Misfires by constantly tossing out liberal feel-goodisms.

While it displays its share of quirky charm, off-kilter characters and outlandish situations, this is really the first film where you can feel the Coens straining to keep up with themselves.

Surprisingly funny, a deep-down-good-hearted take on that oldest of comedy conventions, the ill-prepared rube caught up in a situation that somehow never gets the best of him.

For all Quek's insistence that she was seeking to ennoble women by helping them gain control over their sexuality, Lewis' film shows that all Quek really wanted was be famous.

Delivers an unexpected sweetness.

The actors here are uniformly excellent, and the story has a definite lightweight charm.

Laura's histrionics sometimes seem forced, and Hines has to struggle to be the heel the screenplay sometimes asks him to be.

Akin to being force-fed sugary confections from a bottomless bowl. At first the idea seems just grand, but after a while, all you want to do is scream, "Enough!"