Hank Sartin

Has an affable charm, but the script is paint by numbers.

All in all it's pretty lurid, but it delivers what it promises.

This Hamlet elevates plot to a height that retains the play's atmosphere but squanders its thematic richness in a welter of "Mommy, how could you?" melodrama.

Entertaining but forgettable action flick.

In this eerily tranquil psychological thriller, Nicole Kidman's placid countenance is like a Rorschach: you'll project onto it what you want to see.

Kids used to watching him on TV might find it all perfectly normal, but for adults it's almost an acid trip.

The audience is subjected to a series of emotional contortions, encouraged to experience them voyeuristically, and then scolded for doing so. The bathetic music Kim favors is profoundly at odds with his chilly attitude toward the characters.

The film never quite achieves the sharp edge satire demands, largely because director Andrew Niccol, who was so good at managing tone in "Gattaca," can't decide whether to go with nasty or hilariously farcical.

Be forewarned: this comedy bears only the faintest resemblance to the classic book and film of the same name.

This harmless comedy by Steven Mallorca comments wryly on America's weird hybrid culture, but the characters are too broadly drawn and the story drags in the last third, just when it should be hitting comic warp speed.

Every eerily tranquil shot, weirdly elliptical scene, and peculiar line reading contributes to a mood of detachment rather than creeping dread.

This bleak little drama started as a play, and I'd bet that even onstage it felt contrived.

Crudup takes a riskier path: his architect isn't very nice and is possibly irredeemable. His performance is subtle, complicated, and fresh, and it's a shame the movie doesn't live up to it.

Director Zak Tucker is a bit too fond of jump cuts as signifiers of edginess. Still, when the material doesn't get in the way he's pretty good at getting across the emotional content.

Hits the ground running and never looks back. But after an hour of propulsive pacing the shock value wears off, and all that's left is pop-up carnage.

All the male pulchritude can't make up for a muddled script.

As hard as the film tries to pander, the kids at the preview screening seemed a bit disengaged.

If, as some critics have claimed, "The Cabin in the Woods" made the horror genre obsolete, someone forgot to tell screenwriter Oren Peli.

Wacky mix-ups and a stunningly unfunny climax.

I expected this to be much funnier: Latifah coasts on her charm and Fallon seems incapable of playing an actual character.

Every joke is stretched to the breaking point, and no one seems to be having any fun.

Even the action sequences are poorly executed, with lots of choppy editing meant to conceal the fakery.

A talented director might have made Bullock seem like a comic genius, but Phil Traill has no control over tone, leaving the audience unsure whether to laugh or cry.