Chris Kaltenbach

For a documentary about a music festival, Soul Power doesn't include nearly enough music.

Disturbing, maddening, often confusing, but also charming, engaging and challenging in all the best ways.

It's a documentary about acknowledging genius, about just desserts, about artistic muses that refuse to give up. It's about great camaraderie and great music.

Isn't nearly the landmark comedy it thinks it is, but its quirkiness should appeal to the highbrow funny bone in all of us.

Washington is wisely cast as Marco; few actors command more instant respect, and the movie uses that to make his character both believable and sympathetic.

Filled with delightful sequences.

A snarling satire of Hollywood single-mindedness and its lack of any moral underpinning.

The potential for action never lets up; you never know what's coming around the next corner.

A marvelously subversive, slyly manipulative effort.

A listless, disjointed collegiate opposites-attract comedy.

It's a top-notch action film, albeit on the bloody side, complete with decisive action, mysterious characters and a nobility and sense of purpose that allows its excesses to be forgiven.

A celebration of movie-studio ohana that should warm the hearts of moviegoers everywhere.

Lovely, heartfelt and unforced.

Black and white has never looked more stark.

Baadasssss is about feeling pain and frustration, about having a sense of purpose that overwhelms everything else, about great cost and great risk, the pain of isolation and the intoxicating effect of fighting against the odds.

This Film Is Not Yet Rated performs a great service, though not especially well.

Unsparing and uplifting - a wickedly difficult combination to pull off, but one that gives the film an emotional weight that's impossible to dismiss.

The best sections of Flushed Away, those featuring a nefarious French operative known as Le Frog (a hilarious Jean Reno), are also the most peculiarly British; no one lampoons the French with a better mixture of hard-earned loathing and grudging respect than the Brits.

A pastiche of sadistic horror-movie cliches with minor traces of wit but major overflows of perversity.

Avoids pretension by never trying to be more than it is -- an acknowledgment that things frequently are not as bad as they seem. That's a concept that deserves a little spreading.

Serenity may be short on exposition, but it's smart and fun.

It's a startling physical transformation, as Noland goes from flabby desk jockey to lean, mean fishing machine. But even more remarkable is the mental transformation Hanks effects.

As they've proven before and doubtless will prove again, Soderbergh and his cast are capable of better, weightier, more substantial stuff. But for now, slumming has rarely seemed more appealing.

Unwisely bills itself as a comedy.

There's a persistent innocence to this movie that will work wonders on all but the most churlish.

It was a time in history eminently worth celebrating on film.

This is not a great film by any means, too filled with stock characters in stock situations for such praise. But if offers screen time for some fine young actresses, and addresses its story to an audience of teen girls who deserve something to identify with.

There's a dollop of charm and a deluge of formula in Sleepover.