Claudia Puig

Sitting through the teen skateboard comedy Grind is, well, a grind.

Eccentric and generally entertaining.

A terrorist thriller that isn't so much suspenseful as overbearing. Though it aspires to be an intriguing political cautionary tale, the movie is mostly about the feverish and jarringly choreographed chase scenes.

It's creepy but tinged with sarcasm and infused with silly fun.

George is cute, and the simple story has its entertaining moments.

How She Move has two key assets: powerful dance sequences and an emphasis on education.

The pirate ship has hit foul waters, and even the sharp wit and charm of everyone's favorite buccaneer can't save it.

As subtle and shattering as its title.

Angelina Jolie slums her way through Beyond Borders, a film that telegraphs its plot and then drags ploddingly, its humane spirit obscured by an inane script and Jolie's implausible character.

Post Grad is a collection of unfunny, insipid and predictable vignettes in search of a movie.

Timeliness can be tricky to pull off convincingly in movies. It's tough to capture an era while it's still happening, yet Up in the Air does so brilliantly, with wit and humanity.

Alice Braga plays an Army sniper uniquely familiar with jungle fighting. She is the only one of the crew who does any soul-searching to figure out why this particular group was chosen as prey.

It's a provocative game that plays out with intelligence and wit.

Must we import the rubbish we export?

Iron Man's biggest strength is that the fantastically armored suit doesn't overpower the intriguingly flawed character encased within.

Finally, there's a big-budget popcorn movie that delivers what moviegoers hunger for: humor, action, thrills and charismatic characters. Pirates of the Caribbean: The Curse of the Black Pearl is the summer blockbuster we've been waiting for.

Despite its melodramatic moments, remarkable performances drive home the film's inspiring message.

Huffman is a woman playing a man playing a woman, which is easily the year's most complicated turn. She does a fine, nuanced job in bringing to life a character that could have become a caricature.

The dialogue is beyond clichéd, and performances feel cobbled together from other movies.

Fighting seriously lacks punch.

Mixed with the sleaze is the unexpected and occasionally inspired.

Much like Annie Hall did for a previous generation, (500) Days of Summer may be the movie that best captures a contemporary romantic sensibility.

It's a maniacal performance, complete with mad gales of laughter and insane bouts of temper. Cage doesn't go over the top, but he teeters darn close.

Where "United 93" was a superb example of masterful storytelling, World Trade Center is a more conventional rendering.

The Illusionist casts an exquisitely bewitching spell with its dreamy atmosphere and pervasive sense of suspense.

Even by teen gross-out movie standards Van Wilder makes "Sorority Boys" look like "Some Like It Hot."

Albert Brooks may have come up with the funniest movie premise of the year in Looking for Comedy in the Muslim World.

Blends humor with heart for a satisfying, if predictable, experience.

The saga ultimately lacks the emotional wallop of the TV version. But its clever writing, strong performances and sumptuous production design make for a rich experience nonetheless.

Love Actually is irresistible. You'd have to be Ebenezer Scrooge not to walk out smiling.

Offers a bleak though thought-provoking take on relationships. The challenge for the viewer is in caring enough to become invested in characters who seem hellbent on hurting one another.

The jewels in the buried treasure, once sighted, look fake. But the bigger problem is how artificial the whole story feels.

No new ground is dug up in Good Boy, but the story is well-paced, sweet and lively, filling a void for very young filmgoers.

Alpo is served with a burrito chaser in Beverly Hills Chihuahua, Disney's fish-out-of-water comedy in which the fish is … well, read the title.

50 First Dates is working awfully hard to be romantic and not hard enough to be a comedy.

Each character is decent and likable, as well as complex. The four main portrayals are outstanding -- so natural and believable that you are drawn into their story immediately.

Daybreakers is entertaining, though not quite up to the standards of "28 Days Later."

Harrison Ford has obviously enrolled in the Al Pacino School of Old Man Acting. He yells, sputters and glowers his way through the ultra-ordinary and well-intentioned Extraordinary Measures.

What we get is simply another opportunity for Schwarzenegger -- who seems to be in perpetual Terminator mode -- to flex his muscles.

At its best, it's a gentle meditation on mortality. But at weaker moments it feels meandering and strangely empty.

This sequel is what you would expect: If you liked the original, you'll probably enjoy this retread. But be warned: It bogs down in a drawn-out scene near the end. There's certainly nothing to treasure about this movie, but if a popcorn movie with moderate intrigue and occasional humor is what you're after, this is just the ticket.

This may be the most preposterous movie of the year. It is certainly the most ridiculous movie starring an Oscar-winning actor.

The film has some amusing moments and can be intriguing when it focuses on the slow transformation of a hopeless, faithless man.

While it doesn't scratch much below the surface, The September Issue is an entertainingly voyeuristic glimpse into the fashion world.

A charmingly sweet experience.

A sharp-tongued, subtly nuanced tragicomedy starring Jennifer Aniston, who shows her depth as a serious actress in this dark tale.

Dan in Real Life takes a pleasant premise and calls upon the talents of engaging actors and generally squanders both.

The movie really belongs to Phoenix, who gives a haunting performance with just the right degree of intensity.

This year's warm and fuzzy Christmas movie. It's a generally winning diversion, thanks mostly to its likeable ensemble cast.

It's hard not to wish the same wholesome message could be conveyed with a bit more finesse and originality.

So leaden and obnoxious that it actually makes you long for the John Travolta of "Old Dogs."

It has been a while since we've seen such a consistently funny and entertaining road movie.

Its use of trite "Win one for the Gipper" dialogue, overbearing soaring music and conventional plot devices makes it far too formulaic to truly move us.

This is the worst kind of movie, one that insults its audience by purporting to condemn violence while simultaneously reveling in it.

By the time the movie reaches its protracted conclusion, it feels like a slog. Pacino has a few funny lines, as does Leguizamo, but not nearly enough to save the film from collapsing under the weight of its own self-righteous tedium.

Longs to be a smutty film with a heart of gold. Instead, it's a funny concept whose execution does not live up to its potential.

This portrait of the soldier as an old man is deeply moving.

Not for the faint-hearted.

You're bound to have more fun working overtime than watching Employee of the Month.

Rarely does a first-time director make as auspicious a debut as Scott Frank has done with the haunting, engrossing and intelligent thriller The Lookout.

A pale imitation that challenges credulity and tries too hard to win our hearts with schmaltz.

A supernatural action thriller, is jangly, jarring and violent. But more disconcerting is watching the sweet-faced Dakota Fanning swear, get drunk and pack heat -- in both fists, no less.

Babel may be the most ambitious movie of the year, tackling towering communication barriers, global politics and cultural divides in a structurally complex and fascinating narrative.

Though sometimes boldly captivating, the movie is also occasionally pretentious and lurid simply for shock value.

Director Steve Buscemi is not to be faulted for his filmmaking or acting skills, but as co-writer he could have done better than the false-sounding dialogue.

This is a powerful, poignant and provocative film, told in an unconventional and effective fashion.

Though the movie trails off unsatisfyingly, it raises intriguing and candid, if unanswerable, questions about race relations and political correctness.

A haunting and disturbing film, set in 1938, about "widow houses." Though occasionally overwrought, it emerges as life-affirming.

Trade unflinchingly sheds light on a heinous crime. Yes, it's tough to sit through. But don't let that keep you away.

Saw V is a terrible combination: grisly and tedious. Let's just call it bloody dull.

This pop-culture-infused mistaken-identity thriller ultimately grabs hold and beguiles, though its convoluted plot takes a while to get going.

The film tries to be stylish and slick, but is mostly just nasty and blood-drenched. Piven, so funny in other film roles and on TV's "Entourage," overdoes it here, and extended scenes of his debauchery grow excessive and thuddingly dull.

Dead-on as entertaining eye candy, a bona fide guilty pleasure -- for the first hour. But the movie loses steam and the sequences that dazzled in the beginning get overshadowed by the excesses of later scenes.

Gracie is ably played by Carly Schroeder, and the tale of her uphill battle to play competitive soccer is based on the youthful activism of actress Elisabeth Shue. Shue was the first person in her New Jersey community to break down the hurdles erected to keep girls from the sport.

The juxtaposition between the fast-paced plays on the soccer field and the color-drenched, music-infused wedding party is a highlight of this captivating film.

As good as each individual movie is, the third film vaults the work into the stratosphere of classic movies. Key characters are enhanced, new civilizations visited and battles fought more intensely, while feelings and motivations are plumbed more deeply and movingly.

Falls flat, enlivened only by the performances of its two charismatic lead dogs. The story is heavy-handed, and the human performances are, at their worst, caricatured.

The best thing Hustle & Flow has going for it is Terrence Howard's powerful performance.

Hollywoodland explores an intriguing bit of Hollywood history, and through the strength of its performances keeps us engaged and entertained.

It's a pleasant enough fantastical adventure, but it does feel naggingly derivative.

Though characters make some strong points, the film feels preachy and falls flat as entertainment.

It's too bad more energy wasn't devoted to fleshing out the one-dimensional characters and crafting a decent script. The only reason to catch this harmless diversion is for the group dance sessions.

One of the year's most clever and visually arresting computer-animated films, enlivened by a well-developed and credible cast of characters who just happen to be superheroes.

Flaws are outweighed by Crash's intricate construction and intelligent.

Should warm viewers' hearts globally.

The powerful two-person drama gets watered down by documentary-style footage and voice-overs. But it's worth seeing just for Weaver and LaPaglia.

Writer/director Zach Helm, who wrote "Stranger Than Fiction," achieves bursts of charm and whimsy, but not quite enough magic to elicit a consistent sense of wonderment.

The good-natured silliness is contagious. When Streep runs singing through a Greek village, it's like a spirited homage to "The Sound of Music."

Mr. 3000 isn't nearly as fun as an afternoon of America's Pastime.

With this, possibly his most subdued film, Almodo´var reinforces his status as one of the most distinctive and talented filmmakers working today.

The Hoax lures you in with its captivating performances.

This is definitely the year of Philip Seymour Hoffman.In Charlie Wilson's War, he and Tom Hanks make a particularly sharp and engaging duo, bouncing clever lines off each other as if it were a verbal ping-pong match.

The highlight of this fantasy/horror hybrid is watching a pair of the best British character actors --- Bill Nighy and Michael Sheen -- shed their thespian respectability and unleash their inner beasts.

A rousing spectacle.

Sweet, family-friendly and philosophically complex, Tuck Everlasting is an unexpected delight.

As clunky and humorless as its title.

A movie with memorable and engaging performances.

Half a howler but not nearly funny enough.

The movie is spotty. The short films, essentially comic sketches, were more consistently funny. The movie lags on occasion, but it also has quite a few laughs.

Given its predictable story, the only reason to see Stomp is for the rhythmic step dancing.

This Korean-made film takes the well-worn creature-feature genre and spins it on its head thrillingly.

Elisabeth Shue has a strange role as a version of herself who has given up acting for nursing.

Simple and evocative, yet teeming with intriguing visual effects.

Starts off promisingly, then grows as lifeless as a poker face.

Whatever problems some might have with its execution, it's hard to argue against a film whose intent is to kindle youthful compassion for living things and inspire action to protect Earth and its creatures.

Out of Time seems out of another time and place. Remember "Presumed Innocent?"

The improvised dialogue has a no-holds-barred quality that can hit or miss. But when it hits, it can be hysterical.

Though it's no fiasco -- there's nothing mythic about its disjointed story -- it is a failure.

It takes more than an awkward title attempting to sound cool to overcome its mundane plot and silly dialogue.

Though not as engaging as "Knocked Up," there is enough humor to keeps us entertained.

Screwball, vaguely futuristic political satires are a rare hybrid, and War, Inc. is an intriguing, if flawed, example.

Both a nostalgic throwback to the silent-picture era and an ultra-modern animated tale, the slyly humorous Triplets of Belleville is artful, engrossing and oddly touching.

If you're not a stickler for consistency, this is an effective pastiche and tribute to one of the world's most enticing cities.

Newell's rendering of the iconic novel is dull and creatively off-kilter, lacking the surreal magic and robust passion of Márquez's signature magical realism style and never fully engaging the viewer.

The lack of propriety and solemnity is precisely what makes this comic farce so uproariously funny.

This is the anti-"Hurt Locker" experience: Where that Iraq War film was absorbing and deadly serious, The Men Who Stare at Goats is irreverent and lighthearted. One only wishes it were a more consistently funny film.

The very definition of charming.

Some books are not meant to be adapted to the big screen. Alice Sebold's best-selling The Lovely Bones falls into that category.

The biggest mystery in this wannabe thriller is why such topnotch actors would sign on for such a dreary movie that amounts to a mediocre soap opera.

This is a perfectly pleasant, entertaining and often witty romp with engaging performances.

If not for Sienna Miller's engaging portrayal of Edie Sedgwick, Factory Girl would have little to offer.

That's what The Bounty Hunter has rustled up -- along with a listless rom-com, a feeble thriller and a supporting cast of clueless characters.

Birth presents an intriguing premise about death and the possibility of rebirth in an elegant, melancholy and deliberate fashion.

The film clocks in at under two hours, but the last 20 minutes feel like 40.

From the embarrassingly over-the-top performance of Ray Liotta as a tough-guy biker to the pratfalls of William H. Macy as a bumbling computer geek, this movie stinks of exhaust and desperation.

If one were to fuse the literary sensibility of Jane Austen with the fanciful imaginative license of "Shakespeare in Love," what would emerge would likely be the charming tale Becoming Jane.

Feels slight and repetitive, even when there is no actual rewinding going on.

Though the film has a strong cast, humor and a satirical take on celebrity culture, the story is spotty.

Though the competition hasn't exactly been stiff, Fey and Poehler may well be the best female comedy duo since Lucy and Ethel.

Not a movie to cozy up to. The twisted tale is only mildly intriguing, worth seeing mainly for the striking performance of Jamie Bell (Billy Elliot) as Hallam Foe, a creepy teenage voyeur beset with an Oedipal complex.

Though the lead performances are uniformly good, the film seems hazy in its focus from the start. Many of the scenes seem to simply meander.

Like "The Departed" and "Gone Baby Gone," What Doesn't Kill You is an engrossing, gritty, sharply written and well-acted drama set on the mean streets of South Boston.

Angels doesn't know when to quit: Just when you think it's over, it continues.

This is Woodstock from another perspective -- one without Jimi Hendrix or Janis Joplin.

Emphasizes backing up wishes with hard work. That proviso is a thoughtful message for young moviegoers.

Where it should be light and graceful, Leap Year trips and thuds.

Some screwball moments elicit a chuckle or two, but the script is weak and the characterizations clichéd.

There's really not much fun to be had with Dick and Jane - or anyone else in this anemic comedy.

A quintessentially European, methodically paced and intelligent slice of life.

Shyamalan isn't drawing the caliber of performances from his actors as he used to. Who can forget Haley Joel Osment's haunting portrayal in The Sixth Sense or that of Toni Collette, who played his mother, or Bruce Willis in arguably his best role?

Like the last two "Pirates" movies, Australia is ambitious more than awe-inspiring, grandiose rather than grand, full of spectacle but not spectacular.

While it doesn't break any new ground or provide any revelations, Seven Pounds is unabashedly emotional and cautiously hopeful. It's the feel-good movie for these feel-bad times.

Though they have plenty of lethal weapons at their disposal, the Losers are nowhere near as fun as the '80s action-flick heroes they emulate.

Delayed a couple of years, shown to fans at conventions and retooled, Fanboys is an uneven and largely predictable adventure, but it has its moments.

Definitely not for everyone. It's a very bleak story with uneven pacing and a narrative whose jumps in time are confusing and occasionally infuriating. But the post-apocalyptic mood blends well with its uniquely stylized look and surreal story.

If only The Brave One had captured more of the complex nature of the fear and paranoia plaguing society since 9/11. Instead, it is a well-made but predictable take on the revenge fantasy thriller, with a female twist.

Long on imaginative design but less substantial in narrative, this dreary story of fighting the power is more numbing than thought-provoking.

Through stellar performances, clever writing and exquisite cinematography, the story is fresh and thoroughly captivating.

We all love a good fairy tale, but the enchantment is missing in this predictable sequel.

The movie features a musical score aimed more at boomer parents than their tykes.

What gives In the Land of Women its singular charm is the charismatic Adam Brody, the star of TV's "The OC."

This is a romantic comedy, not a sci-fi adventure tale. But the actions, choices and general behavior of the characters are oddly removed from what goes in the real world.

A poetic and lovely tale, told as a silent picture with music and narration.

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

Stands apart for its raw, quiet emotion and its shattering sense of truth.

The thrills, chills, frights, starts and occasional screams that a good horror film elicits from an audience are not there. Jeepers, the Creeper has little to recommend it.

Like a politician who waters down his message to gain favor with the masses rather than truly serving his constituency, Man of the Year seems determined to play it safe on all counts.

Wedding feels a bit anachronistic. Still, not every low-budget movie must be quirky or bleak, and a happy ending is no cinematic sin.

The Tillman Story is a probing examination of truth, decency and the American way. It also explores deception and military propaganda and lays bare the ravages of grief.

It's really not much fun - in fact it's painful - to watch an actor on the verge of a nervous breakdown. It almost doesn't matter if the psyche in question is imploding artificially - as in staged - or organically.

Made of Honor has some funny moments, and it keeps your attention, but it's certainly not worth rushing out to the multiplex and paying top dollar for. Catch it on TV on a lazy afternoon with little else to do.

Might have been more appropriately titled "Hodgepodge." What starts out with a sense of quirky fun loses direction and devolves into a mishmash of story lines.

Though the experience is nerve-racking and cathartic under Campbell's skilled direction, musings on family and grief and Gibson's intense, but subtle, performance stay with us longest.

For hilarity, characterization and clever structure, "The Hangover" is far superior. Still, there are some laughs in this uneven but good-natured raunchfest.

The Greatest raises compelling questions about how parents continue on after the death of a child.

A raw and powerful suspense thriller.

This morally ambiguous tale of dangerous liaisons and bewildering choices amounts to one of the year's most intriguing dramas.

Besides being filled with Chappelle's hilarious sense of humor, the movie features life-affirming messages and great music by serious rap artists with political, socio-cultural and spiritual themes.

Displays so much promise with its beautiful cinematography and superb portrayal by Cate Blanchett that you scarcely notice (or even care) that the story is a bit thin.

Its strongest asset is the stunningly poetic cinematography by Thierry Arbogast.

The unfunny jokes center on outhouses, vomit and flatulence. Gooding mugs, screeches, even hops up and down to no avail. Nothing can wring an ounce of comedy out of this sorry spectacle.

When a movie is a hybrid of this sort, it can be tough to strike just the right tone. Mostly, The Hunting Party manages.

Though not exactly a valentine to the octogenarian Nobel Peace Prize winner, the film is a lovingly rendered, candid and intimate portrait.

The end result, while entertaining, is the kind of unruly mess you can't imagine the indomitable Nanny McPhee tolerating.

A brilliant idea that seems to lack the vision to be great.

One of the film's strengths is that nobody -- male, female, gay, straight or Jewish mother -- is reduced to stereotype.

Lottery Ticket is no prize.

This misguided chick flick jumps through a lot of hoops just to state the obvious: "Life goes on, enjoy the time you have."

Tells an increasingly outlandish story with very funny (and often gross) moments. But about an hour in, it grows derivative and disappointing.

It's an innocuous, occasionally cute movie made watchable by the appealing Mandy Moore and hunky Matthew Goode, a Brit who has a bit of Hugh Grant charm in an otherwise silly role.

Lacks tension or mystery. Even the courtroom scenes feel artificial.

A timely story, given the political upheaval in Iran, it is emotionally explosive. It also is profoundly compelling.

Stereotypical, banally written bloodbath.

27 Dresses is like one of the many bridesmaid dresses featured in the film: frothy, predictable and over the top.

An embarrassing debacle...the rare movie that never seems to take off, but also never seems to end. It tries hard to titillate, but ends up making audiences want to avert their eyes.

Jackson is a visionary filmmaker who is not only a technical wizard but also a master storyteller. With Jackson at the helm, you would expect dazzling special effects and epic action sequences, but what is most surprising is how heartfelt the romance feels.

Though probably well-intentioned, Radio comes off as manipulative of its audience and exploitative of the mentally challenged.

Mostly, it's just wicked fun.

A touching story of hope, vitality and art rising from the bleakest conditions.

A psychological drama with an intriguing ambiguity that challenges the viewer's loyalties and preconceived notions. For the first half of the movie you find yourself on the side of a hunted man. Then as the story unfolds, his pursuer becomes the one you root for.

A wan version of the same old tired serial killer story, despite its updated milieu -- cyberspace.

The Romantics is a misnomer. "The Spoiled Melodramatics" would be more accurate. Or better yet, "The Pretentious Ones."

Though some scenes may be too intense for children, the action is slick, with robot clashes and airborne chases leaving the strongest impression.

There is some lovely cinematography by Shelly Johnson in the classic David Lean style and plenty of excitement. Taken just for that, Hidalgo delivers.

Not for everyone. It is darkly funny, intellectually challenging and obliquely didactic. It also grows bleaker over the course of its nearly three-hour running time.

This leaden teen comedy is meant to be lively, but it's curiously bland.

Tarantino exercises both his obsession with vengeance and his fascination with the movies.

Fun at times and tedious at others, it's an action-adventure fantasy aimed particularly at gadget-loving boys.

The ensemble cast is strong. At its silliest comic moments it has a sitcom flavor, but the overall effect is gently amusing.

This adorable exercise in whimsy should give "Corpse Bride" a good fight for best-animated-film Oscar.

The devil has a new spawn, but this one is not nearly as creepy as its progenitor.

It is an unsettling tale told simply and chillingly by director Peter Mullan, with stand-out performances, an evocative soundtrack and spare, haunting visuals.

The movie, though predictable and formulaic, is not that simple, although it might have been better off had it been so basic. It interweaves clichés from several other genres and ends up a mishmash of stories.

The werewolves have it all over the blood-suckers in The Twilight Saga: New Moon. When these oversize, hirsute creatures burst onto the screen, they inject life into a rather inert story.

If you're willing to embrace a bit of corniness for the sake of some incisive humor, a few poignant moments and enjoyable scenarios, make time for The Holiday.

A powerful and evocative account of the efforts undertaken to forge a perilous mother-and-child reunion. Told in Spanish with English subtitles, it is a moving tale of yearning, as well as unflagging courage and determination.

Though the story teeters on easy sentimentality, it doesn't succumb. Though unabashedly emotional, it isn't maudlin. Tsotsi's story feels believable. It is made all the more engaging by a wonderful soundtrack of African Kwaito music.

A visual treat with an engaging story that has an uplifting, but not maudlin, message.

An intriguing and somber tale of disintegrating and disappointing relationships fused with a coming-of-age story.

Not brilliantly funny nor incisively clever, Intolerable Cruelty is still moderately satirical and laugh-out-loud enjoyable.

This is precisely the kind of film that parents clamor for and rarely get: a substantive, stirring, Huck Finn-style saga that doesn't insult anyone's intelligence or mindlessly entertain with crass humor.

Slither is old-school gooey, slimy, silly B-movie fun.

Unstintingly explores and exposes excruciating pain, raw grief, ruinous vengeance and life-affirming resilience, creating human portraits that are uncommonly exhilarating in their honesty. This is cinematic art in its highest form.

The dashing Jackman plays his part well enough, but the script doesn't provide sufficient "Indiana Jones"-style bons mots to win us over.

Too slight and pointless.

Cate Blanchett brings little but an arch toughness to the role of Marion, and, in a highly improbably climactic scene, proves herself a veritable knight. Crowe and Blanchett share a perfunctory romance, with few sparks.

Some of us look forward to Guest films the way others pine for installments of Bond or "Star Trek." This skewering of Hollywood will entertain we "Guesties," but it's not at the top of his roster of parodies.

There is a compelling ethical question raised skillfully that will haunt viewers. The poignant conclusion probably will incite debate.

A sweet, family-friendly retelling of a touching and funny Newbery Award-winning children's book.

Not as incisive a political commentary as "Thank You For Smoking," American Dreamz lampoons the public's appetite for mindless entertainment and easy distraction from serious concerns.

An enjoyable, rousing film, despite its formulaic quality.

JCVD is a whimsical twist on the biopic, sending up heist movies and breaking cinematic rules to interesting effect. At a critical moment, Van Damme rises out of a tense hostage situation to look into the camera and speak movingly to the audience. He has never seemed more convincing.

Not only is Saved! subversively funny, it is unexpectedly sweet.

The young actors' performances are particularly haunting.

Poseidon is a sodden saga, with a script that is awash in clichés. It nearly drowns under the weight of its own soggy tedium.

Yes, it's loud, explosive and silly, but it also perfectly embodies the concept of a summer blockbuster with its simple good-guys-vs.-bad-guys plot, cheeky humor and flawless special effects.

Well-crafted, Tarantino-esque story.

It's hard to imagine how a film built around one-on-one interviews could be entertaining, but Frost/Nixon could not be more enthralling.

Whereas the book was lyrical and moving, the movie is surrealistic and inventive.

Bride Wars is about as funny as a cringingly awkward wedding toast.

There's nothing exciting about this awful, over-the-top reboot.

May not be a straightforward bio, nor does it offer much in the way of Barris' motivations, but the film is an oddly fascinating depiction of an architect of pop culture.

Offers up the absolute bare necessities of a sequel.

Moody, provocative and intellectually ambitious, Adoration is primed to elicit impassioned discussion among audiences.

Affleck ought to do more quirky character roles rather than leading-man parts in action films. Bateman plays his low-key straight man/protagonist to perfection.

A riveting and disturbing documentary that falls short of greatness by not providing enough insight into the characters. It is mostly intent on inciting a sense of outrage in the viewer, and it succeeds.

What makes the movie so winning are its endearing and relatable characters who spout believable dialogue and amusing banter, steeped in clever pop-culture references and sharp observations of human nature.

The film drips with honest emotion and confusion.

A well-paced action film in the vein of "Speed."

Bettany is the best thing about the movie. A wonderful dramatic actor, he also proves to be richly skilled at romantic comedy, playing Peter with an easy grace and a droll sense of humor.

Sometimes -- and far too rarely -- a film will hit all the right notes, with sharp, original dialogue, brilliant casting and an absorbing story. So caught up in its spell, you dread seeing the credits roll. Please Give is that movie.

The most gorgeous of all the Pixar films — which include "Toy Story" 1 and 2, "A Bug's Life" and "Monsters, Inc." —Nemo treats family audiences to a sweet, resonant story and breathtaking visuals.

An exhilarating sci-fi action thriller with a powerful social and political message.

Delpy is clearly a gifted writer, especially of comic dialogue. But she and Goldberg don't quite work as an engaging pair.

The movie occasionally reveals truths about relationships that, while not earth-shattering, are nonetheless entertaining and worth considering.

Breaking and Entering starts out powerfully, then falls apart by the time it reaches its too-neat conclusion.

It's a pretty twisted concept, bordering on offensive. But mostly it's just not funny.

As if this drivel weren't bad enough, the ending blatantly threatens a sequel

Dragging on too long is a more serious flaw in a romantic comedy than it might be in a complex drama. We don't ask much of a movie like this, but we do require it to be snappy, clever and quick.

The martial-arts sequences take this prosaic thriller to a higher level.

It's a cut above most spooky-kid movies, with a twist that sets it apart.

This frenzied fiesta of firepower is about cloning people for spare parts, but the movie is a clone itself. Possessing no new ideas, it reworks and borrows from such films as "Blade Runner," "The Matrix" and "Logan's Run."

If The Pursuit of Happyness didn't star Will Smith and his adorable son Jaden, it might be just another tearjerker rags-to-riches story. But their chemistry raises the level of the film, making it heartfelt and compelling.

Most noteworthy for the performance of Sigourney Weaver as Linda, an autistic woman.

There's a new heist film in town that follows the conventions of the genre and then adds a couple of fresh and endearing twists.

Sharply written, superbly acted, funny and even occasionally touching.

One of the best films of the year.

A moving documentary that informs, entertains and inspires.

The world of the fanciful fable looks particularly vibrant this time with its signature blend of realism and fantasy. It is a pleasure to watch these fairy tale folk be themselves -- yet again.

The Coen brothers have fashioned a wry and riveting hybrid of a drama, Western, crime thriller and action film that is as powerful and thought-provoking as it is genre-bending.

Dark humor intersperses with poignant moments. Though the conclusion feels forced, the movie works.

It's a rare film that can challenge our minds and rattle our nerves so profoundly. This is unequivocally a thriller for adults. A deftly written, tautly suspenseful and intellectually demanding morality tale.

Che is a mass of contradictions, perhaps like the iconic revolutionary himself.

What the film does best is remind us of the brilliance of Keats flame and how it was extinguished far too early.

It is at once warmly humanistic and boldly innovative, raising philosophical questions but not answering them.

Definitely more than semi-funny.

Aspires to be epic, but mostly it's just unfocused, sprawling and badly in need of editing.

Not only is it an unfunny movie shrilly told, it probably is the most ill-timed and appallingly insulting movie in recent memory.

Where "Mall Cop" is broad, safe and sticks to a formula, Observe and Report is unabashedly crude, cynical, off-kilter and funnier.

Antichrist is probably the most disturbing, bleak and self-indulgent film ever made.

Such overkill might seem like an asset to teenage boys (and those who think like them). The rest of us are better off not wasting our Washingtons.

The story, an updated version of the 1951 classic about a portentous extraterrestrial visit, feels musty and derivative, and not only because it's a remake.