Connie Ogle

Features one of the more pointless cameos ever when Tom Waits shows up abruptly in the desert to spout mystical nonsense about Domino trading her life for somebody else's. The scene has absolutely no place in this jarring, violent movie; Waits is just another of Scott's distractions.

Deadly serious, straightforward and surprisingly entertaining tragedy.

Except for Spacey's talent, elements don't add up.

The biggest surprise in the cheery, delightful Love Actually is its lively, edgy, slightly blue sense of humor.

An annoying, tedious little film.

If you found "Crouching Tiger" a stunning bore, you probably won't fall under Hero's spell. But the rest of us, well, we'll be more than happy to savor every moment of its strange, ravishing beauty.

Paced at the speed at which Arctic ice melts, The Dust Factory is a sluggish, heavy-handed fable overloaded with talk of paradise and the man in the moon.

This film and Miller's vision remind us of the danger of giving in to fear.

It's a testament to the power of the story -- and this engaging adaptation -- that leaving Hogwarts is tough anyway.

Feels every bit as cheap and flimsy as Edward's hospital.

Above all, this story is about the peril that lurks under life's surfaces.

Skillfully straddles an intriguing line between reality and fiction.

The only thing missing from this winsome, madcap throwback set in London on the eve of World War II is an actual Brit in the title role.

Embarrassingly shoddy film.

The movie is less painful than having your kidneys removed, but Turistas doesn't offer a trip entertaining enough to take.

Garner may be a study in butt-kicking intensity on TV's Alias, but here, she's an engaging comic performer who more than carries her share of what is essentially an unoriginal, mostly average film.

All we can do is hope that films such as Hotel Rwanda remind us all -- moviegoer and politician -- of the terrible cost of doing nothing.

Despite the increasingly annoying presence of the mugging, fatuous Cuba Gooding Jr., The Fighting Temptations pulls off what feels like a major feat: Its musical sequences could make the most hardened atheist want to go to church.

Premonition is actually more daring than you might expect. Not bold enough to be memorable, maybe, but just enough to keep you from falling asleep in front of the TV.

Based on a graphic novel, 30 Days of Night opens with a premise so promising it seems almost impossible to screw up.

Think "Cruel Intentions" in period costume, or better yet, Sofia Coppola's "Marie Antoinette," which managed to take its subject matter lightly and seriously at the same time.

Romantic comedies don't have to be profound when they are as appealing as this one.

There's little warmth or depth to the characters who, for the most part, trudge through the film with little wonder at the magical journey they're making.

The germ of a better film lies in that joke, but Schaeffer doesn't quite dig it out. Instead, we get painfully unfunny scenes that make us think that when it comes to writing comedy, Schaeffer should stick to his own rule: never again.

Fans of period drama will find things to like about The Duchess; it's not as ludicrous as "The Other Boleyn Girl," for instance, and it's not overly long or ponderous.

It has virtually nothing in common with the charming book written by the Gilbreths about their turn-of-the-century family and everything to do with making money on DVD rentals.

Johansson is magnetic enough to make this batch of Southern-fried corn almost digestible.

Equally thrilling and wrenching, the film is an absolute must for anyone who loves sports and an eloquent explanation for those who don't understand what the fuss is about.