James Berardinelli

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

There's something to be said for the power of a classic, even if it has been given an imperfect makeover.

The result, regardless of how it was arrived at, is gutless.

Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.

For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."

The casting is perfect. Webb has chosen leads who are familiar but not overexposed, and who are on equal footing (neither overshadows the other).

Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

Cool Hand Luke is a metaphor for the social climate in which it germinated. Luke represents that segment of the population who will not submit, no matter how viciously they are beaten. They repeatedly rise up, convinced not only of the rightness of their actions, but that, in the end, they can make a difference. In the midst of the burgeoning '60s cultural revolution, it's impossible to ignore.

This combination of storytelling, singing, and corny comedy is sometimes a little too slow and long-winded for its own good, but at least the aftertaste isn't bitter.

The sloppiness of the ending doesn't only damage The Black Dahlia, it sinks the project.

If movies were rated solely on the basis of style, The Quick and the Dead would score highly indeed. With its dazzling photography, inventive camera angles, and throbbing bass score, the film is an experience for the eyes and ears. Director Sam Raimi and cinematographer Dante Spinotti have woven a beautifully elaborate tapestry: colorful and evocative -- and depressingly two-dimensional.

Turns out to be hopelessly mediocre -- a poorly scripted, preachy fable that forgets about unfolding a coherent, believable story in its zeal to spread propaganda.

Taken as a whole, it’s excruciating in ways that few would consider enjoyable.

The movie's musical sequences, which primarily feature popularized versions of gospel standards, are exhilarating and energetic. Unfortunately, that's only half the story, because the so-called dramatic material, which links together all the musical numbers, is mind-numbingly bad.

Considering the strength of performances given by the 25-or-so teenage actors portraying the students, it's amazing that none of them have previous experience.

Pussycat is classic Meyer. The three leads are all topheavy, the action-packed plot is paper-thin, there are loads of double-entendres amidst the cheesy dialogue, and the style is pure low-budget. This is fun stuff, to be sure, but definitely of the "guilty pleasure" sort.

Wheeler is extremely secure in filming the sex scenes - they are inarguably erotic - but she has trouble with serious drama. Overall, that makes Better Than Chocolate a mixed bag with a wavering focus. In many ways, it's like the majority of heterosexual romances -- not unpleasant or unwatchable, but nothing special.

Unless you're among those who admit to an inexplicable admiration for Shore, Son-in-Law will rate as one of the most unpleasant, grating experiences of the summer.

The final half-hour contains enough contrivances and holes to challenge even the most generous movie-goer's suspension of disbelief.

With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.

A bloody fairy tale with no moral and a lot of juice.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

The Paper is a crowd pleaser, and, regardless of any viewer's experience (or lack thereof) with the behind-the-scenes wrangling that goes on in newspaper offices, the story is affable and entertaining. While there are no startling revelations, the film's atmosphere contains enough strength of realism that more than one viewer may momentarily think of the goings-on at The Sun as they sit down with their morning cup of coffee and look at the day's headlines.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.

This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.

A fun-but-uninspired swords-and-sorcery story.

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

This is the kind of tearjerker that will cause audience members to cry, but only because they paid hard-earned money to see it.

With its refined wit and glorious vision, The Hudsucker Proxy is certainly deserving of a wide audience.

Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.

Along with The Searchers, it represents John Ford at his most accomplished. And it is one of the best Westerns Hollywood has ever produced.

August Rush isn't just a bad movie - it's an aggressively bad movie.

Because of the dominance of the central figure and the way in which The Cruise has been assembled, it functions more as a character study than a travelogue, and that makes for an engaging time in a darkened theater.

While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.

So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.

The end result, while it provides moments of kinetic entertainment, is too repetitive and uneven to be satisfying.

Petersen ratchets the tension up to a level where the viewer is likely to forget the imbecilic plot contrivances that have gotten the situation to this point, and just enjoy the action and adventure.

The movie carries a mild PG rating but may be too intense for younger children.

Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.

A solid motion picture with a universal message and occasional splashes of genius, but it is remarkable only as Holly Hunter's performance is concerned.

Taken as a whole, Shallow Grave is a reasonably enjoyable (for those captivated by this sort of thing) black comedy/noir thriller that justifies at least a portion of the praise being heaped upon it from overseas.

Beneath its aw-shucks, wants-to-be-liked exterior, this is a bankrupt motion picture. It's cloying, artificial, and not the least bit romantic.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

In an era when movies about love almost always invariably devolve into formulaic affairs, Neil Jordan's Mona Lisa stands out as an often-surprising, multi-layered achievement. By offering a rumination on a wide variety of love - real, imagined, romantic, sexual, and platonic - Mona Lisa defies easy categorization and offers a complex and superior one-hundred minutes for all who view it.

This movie is a vast improvement over the tired and uninspired "American Pie 2," although it fails to make it to the lofty perch occupied by the first film.

There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.

The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!

Summer Hours attracted two of France's acting luminaries, and their presence elevates the material. Charles Berling has the central role; the movie is largely told from his perspective. Juliette Binoche, with blonde hair, has a secondary part.

One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.

A tepid affair, distinguished by bland character development, uninspired and insipid dialogue, and a nonexistent plot.

The film has two highlights -- a profanity-laced monologue by Peter Falk about boxing and the one-on-one confrontation between Monroe and Chambers in the ring.

The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.

North by Northwest is also surprisingly forthright when it comes to sexual matters. There aren't many euphemisms or double entendres in the interaction between Thornhill and Eve.

The movie isn't entirely successful as a romance or as an adventure, which makes the experience of watching it feel shallow and hollow, sort of like the stars and the plot.

Despite being filmed far from where it is set, the authenticity of the situations and emotions is unmistakable.

A fast-food type of movie - it looks good in the commercials and is easy to sit through, but it doesn't offer much in the way of satisfaction.

At least there are some decent special effects to distract the viewer's attention from the story, right? Wrong. The visual effects aren't much better than those found in any typical video game system. They're repetitive and unimaginative.

Technically, it's superbly made; dramatically, it fails to achieve escape velocity.

It celebrates art, hope, and dreams, and you don't have to like hip-hop to appreciate the message or the way in which it is delivered.

The vision of director Alex Proyas lifts this film above its sad history.

There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.

Won't win points for originality, but the screenplay includes some snappy dialogue, smart observations, and an uplifting message about the importance of friendship.

By the end of the film, I was hoping everyone on two legs would die, preferably suffering as much on screen as I was in the audience.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.

The tale related here isn't all that original, but the honest presentation lends impact to a wrenching scenario.

Never pretends to be something that it isn't. Oh, there are costumes, to be sure, but that's just to facilitate the setting of the 18th century. Anyone who mistakes this for a costume drama is not aware of what kind of film they have ventured into.

One problem is that none of the characters are interesting and the situation is clichéd.

The strength of Push is its relentlessness. The movie doesn't pause for anything and, when it provides exposition, it does so without bringing the action to a grinding halt.

Ultimately, Bad Education must be considered to be a minor effort from a major director.

It is difficult to deny Nell's intelligence and sensitivity. We approach this story with the same fascination that Nell faces each day, seeing, if only for a short time, how different the world -- and people -- can be.

Rarely does The Man with the Golden Gun take anything seriously. Mary Goodnight is as clumsy as they come. Pepper and Nick Nack are cartoonish. There are more jokes-per-minute than in any other Bond film. Even John Barry's score is less earnest than usual, and the opening song is ridiculous.

There are moments when The Relic is almost enjoyable, albeit in a visceral sort of way. Unfortunately, when all is said and done, this horror/science fiction amalgamation seems like nothing more ambitious than a bad reworking of elements from Aliens, Species, Jaws, and Predator.

Bold and stirring with impeccable production values, The Last of the Mohicans is a memorable motion picture adventure, and one of the best films of the year.

Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.

Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.

We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring.

Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable.

Much Ado about Nothing is a gem of a movie - a real find in 1993's sea of mediocrity. Branagh has successfully used a mixed cast of "names" and "unknowns" to breathe life into this lavish production, and never has Shakespeare been more warmly received. I'm not sure if "feel good" has ever been used to describe a picture based on the Bard's work, but the expression fits. This film cements Branagh's status as a great director of Shakespeare, and perhaps of film in general, as well.

With a cast like this, one has a right to expect something amazing, so the fact that We Own the Night is merely "entertaining" might cause disappointment in some quarters.

One of the dumbest thrillers to arrive it theaters in a long time.

As a satire and an off-the-wall comedy, Bubba Ho-Tep hits the bullseye. As a horror movie, it's less successful. Maybe we're too busy laughing to be scared.

I can recognize when a movie has been made for the sole purpose of generating a few cheap bucks, and that's exactly the case with The Rugrats Movie, an embarrassingly juvenile production that would seem more at home in the midst of Saturday morning cartoons than on a big screen.

The film is more than a little odd but it has fun with its offbeat premise and moves along breezily until it gets bogged down in the third act.

Unfortunately, the running time is too short for us to get to know, or care about, the characters in a way that would make the film's themes strike a responsive chord.

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.

Beauty and the Beast attains a nearly-perfect mix of romance, music, invention, and animation.

This is a pure popcorn movie -- the kind of film one can unabashedly enjoy for what it is. There's plenty of visual flash and dizzying action, but not at the expense of the other qualities that make for a complete motion picture experience.

Cloying and at times annoying, Life as We Know It is egregiously manipulative, whoring itself out for a few unearned tears.

With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.

This is easily the worst filmed version of anything penned by the prolific author.

A classic example of a pedestrian motion picture being lifted out of mediocrity by an arresting lead performance. Zooey Deschanel doesn't just elevate Winter Passing; she carries it.

Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.

Charlotte's Web has all the requisite elements that a family film needs to succeed and endure: humor, drama, pathos, and an emotionally satisfying ending.

It's not a great film, but it succeeds in being both tender and cathartic.

As a movie, The Hoax isn't a fraud but it's not the real deal, either.

There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.

It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.

This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.

Two agonizing hours of lifeless, mind-numbing hogwash.

Post Grad isn't funny, surprising, or insightful enough to provoke more than a ho-hum reaction. It's not bad in the way that many failed comedies are bad; it's simply uninspired.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.

This is a fun motion picture on all levels, and, while it doesn't quite measure up to the standard established by Beauty, it's still one of the year's best bets for pure entertainment.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

Strange that a movie about comedy is so lacking in this quality.

This is a lackluster film that exists exclusively because its predecessor made money.

There are those who will see this as a silly fantasy, but they have either missed or chosen not to feel the magic woven by The Sandlot. Predictable as the movie is, the Field of Dreams quality is not the only thing to like about The Sandlot.

Offers nothing more spectacular than a character study. And, although The Good Girl's protagonist may be trapped by routine, that's one claim that can never be made about the movie.

Yes, this film is worse than "Cliffhanger," Stallone's last venture into chaos.

This is a train wreck of an action film -– a stupefying attempt by the filmmakers to force-feed James Bond into the mindless "XXX" mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs.

While there's quite a bit more graphic bloodshed and brutality here than in any of the late screen icon's vehicles, Payback is a worthy '90s successor to his kind of movie.

There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.

This is essentially a Steven Seagal movie without the Ponytailed One, and may appeal to those who enjoyed Seagal's rather bland, cookie-cutter action films.

A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.

It requires only four words to describe Earth: glorious photography, annoying narration.

An insipid, stillborn drama that drags its viewers through a ghetto of despair before finally, unexpectedly plopping them down in the midst of a happy ending.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

Although each episode might be marginally entertaining in its own right, the overall effect is that the movie isn't funny enough, exciting enough, or dramatic enough to warrant two hours of an audience member's time.

The quality of the humor - irreverent, smart, and challenging - is one of the things that differentiates Monty Python and the Holy Grail from so many other motion picture comedies.

Tautly paced and expertly directed, this roller coaster ride of a motion picture offers a little bit of everything, all wrapped up in a tidy science fiction/action package.

The Saint is more of a character-based thriller than a strict stunts-and-explosions film, which is a good thing because the action sequences are mostly flat and obligatory. Even when he generates a degree of tension, director Phillip Noyce (Patriot Games, Clear and Present Danger) is unable to sustain it, and the disappointing ending is not only long and drawn out, but lacks a sense of closure.

Tedious and predictable, it employs obvious situations and clichés instead of genuine suspense-building elements.

The first half-hour (or so) of Clue is enjoyably witty but, after that, it’s a downhill mudslide.

Go to this movie for the cheap laughs and bodily fluid jokes -- those are its strengths.

Too often, Boynton Beach Club feels like a made-for-TV movie with a little sex, nudity, and profanity thrown in to spice things up.

With a theatrical trailer far better than the actual picture, Schroeder's film delivers little more than a healthy dose of disappointment. The picture is watchable, but nothing about it will linger, except perhaps the feeling that, with a more polished script, it might have been significantly better.

Simply put, Boiling Point functions as an apt definition of cinematic mediocrity, with little to laud or despise. It's the kind of motion picture you can yawn your way through without getting overly worked up about the money you lost paying the price of admission.

Disappointing, but barely watchable.

The action sequences were often nail-biters, the lead characters were well-developed, and the dialogue was intelligent.

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

Robert Duvall does far from his best job here. His is basically a "mail it in" performance, but, considering the script he's working from, it's no wonder. Something to Talk About is weary -- every ounce of energy and originality has long since been wrung out of this formula, and the "twist" of having the leads already married doesn't do much to spice up things. Ultimately, this "something" turns out to be nothing much at all.

Unfortunately, although there are a few nasty thorns here and there, The First Wives Club is a largely uninspired (and unfunny) comedy that collapses completely in the final fifteen minutes.

Moments of light comedy keeps the tone from becoming too heavy without sabotaging the movie's dramatic underpinning.

By playing it safe, One Last Thing offers tearful interludes but not a lot more.

With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.

The worst action movie of the summer. I liked Bad Boys II a little less, but making the comparison is like distinguishing between a cow turd and a horse turd. And that pretty much sums it up nicely.

Like fruitcake, movies like this are ubiquitous at this time of the year but rarely are they devoured with great relish or enthusiasm.

Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.

Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.

This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.

With its rare mixture of intelligent plotting, flawless acting, and start-to- finish tension, Copycat is a force to be reckoned with.

Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.

Despite its various deficiencies and occasionally antiquated style, King Kong remains not only a milestone of movie-making, but a magical experience.

A rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.

After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls "Big Night."

The first film was significantly better and, therefore, is the place to start for anyone with a modicum of interest. Underworld: Rise of the Lycans is an also-ran that is likely to be appreciated only by completists.

Oddly, the filmmaker best known for his Valentines to New York, Woody Allen, is not participant.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

It's solidly entertaining for what it is and, while it does little to truly rejuvenate the franchise, at least it lessens the pain caused by two gimmicky cross-over pictures that sucked too much juice out of what was one of the 1980s' most surprisingly tense sci-fi action pictures.

Cavalcade's anti-war message is presented with more subtlety than that in Wings and All Quiet on the Western Front. The story is more concerned with the potential of death than it is with actual tragedy - how those left behind live in a constant state of anxiety, never knowing if their loved one is going to appear on a casualty list.

This is a Beauty & the Beast romance between Nicole Kidman and Chewbacca.

Too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits.

For all its faults, Gracie is made with enough grace to get us rooting for the protagonist.

As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

Labeling this as a "movie" is almost an injustice. This is an experience of epic scope and grandeur, amazing emotional power, and relentless momentum.

Watching this movie, I wished I knew how to use dental floss, a paper clip, and a crumpled movie ticket to break the projector.

Besson may have misfired with The Fifth Element, but at least he does it with flair and a sense of humor.

Almodovar's central parody is strong enough to save this film from floundering too much or too often. It's daring and nasty, but rarely brilliant.

With patience, care, and strict attention to detail, Scorsese has staked out an impregnable position in the history of motion pictures.

With a movie of this sort, the viewer expects to undergo something grueling and disturbing. Trade's inability to deliver that sort of visceral experience makes it unworthy of anyone's hard-earned dollars.

The extreme nature of the gore isn't beside the point - it is the point. Raimi goes so far over the top in presenting these displays that they take on a campy, almost humorous appearance. It's impossible to take all this blood seriously. So, instead of being sickened, we're strangely amused - and this is all intentional.

It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.

Pretty much a one-trick pony, and, after a while, that trick loses its ability to impress.

Stalag 17, despite often being labeled as one of Wilder's "lesser" films, is a bona fide classic, and an example of how an accomplished director can meld many elements into a workable whole.

As a vehicle for examining the conflict between religion and artistic freedom, Sirens is shallow, and scenes concentrating on this issue dampen some of the lighthearted fun. Sometimes, it's better not to try for too much substance with such an earthy basic premise.

If you're tired of routine, "feel good", Hollywood fare and are looking for something a little Tarantino-ish and a lot unusual, Feeling Minnesota will leave you feeling pleasantly surprised.

Takes the action/adventure story to new heights of preposterousness. In a way, that's not a bad thing, since it allows a certain level of guilty enjoyment.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.

Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.

A thoughtful, existential meditation about the meaning of life and what constitutes a life well-lived, Ikiru is almost guaranteed to prod the viewer to examine his or her own mortality and ponder how, in the end, the scales will tip.

Good, solid entertainment.

The story, which retains an element of corny appeal, is hamstrung by a too-long running length that tries the viewer’s patience.

It retains the occasional power to mesmerize and amaze.

"Mindless" applies, and Book of Secrets is more like a tame, endlessly repetitive amusement park ride than a motion picture.

The Spanish Prisoner is for anyone who likes to think and feel along with the characters.

A highly satirical work, albeit without the "in your face" style of "South Park."

There are no big-name stars. Barbara Serafian, who is excellent, has a thin, eclectic resume. She looks a little like Frances McDormand.

Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.

Perhaps the thing that most surprised me is how fingernails-on-blackboard awful the music is.

Away We Go is not as dramatically wrenching as "Revolutionary Road," but it's unquestionably more enjoyable.

The Dirty Dozen flows nicely, keeping things moving and drawing the audience along in its rapid current

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

Armageddon is a testosterone and adrenaline cocktail, with almost no intelligence added for flavoring.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.

Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.

The acting, especially by the male leads, is superlative.

In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.

This is bad. Not bad in a way that it might be fun to see when inebriated. Bad in a way from which only death provides immunity.

There are also plenty of background sight gags that often go unnoticed on a first viewing.

Cinematic magic.

Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.

The film's climax is nothing short of hilarious. And Death at a Funeral doesn't discriminate when it comes to the type of humor it embraces it. Everything is in there, from physical hijinks to verbal repartee to naked man jokes to drugs and gross-out stuff.

Predictable this isn't, but that can be seen as both an asset and a detriment.

Yes, the ending is weak, and there are aspects of the story that don't stand up to scrutiny, but this is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation.

On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.

Newell has followed up a respectable adaptation of a Harry Potter novel with an ignominious translation of something more delicate and literate. It's hard to recommend this movie to anyone except perhaps the MST3K crew.

Goldfinger is studded with moments that have since become deeply embedded in the Bond mythos. John Barry's opening song (sung by Shirley Bassey) is among the series' best. Snippets of dialogue have attained an almost-legendary status, such as the exchange when Goldfinger is about to emasculate 007 with a laser. "Do you expect me to talk?" asks Bond. The response is succinct: "No, Mr. Bond, I expect you to die!"

The Wings of the Dove is not a happy tale, but it is a vivid and unforgettable one, featuring multi- dimensional characters, beautiful cinematography, impressive set design, and accomplished acting.

In fact, there are times when this movie feels like the latest installment in the over-milked Home Alone saga.

What's sad is that Elizabethtown contains two GREAT sequences.

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

Whether on stage or on film, The Crucible is a powerful, thought-provoking production. This version illuminates the story's numerous strengths, resulting in a motion picture of surprising emotional and intellectual impact. By re-interpreting this classic so effectively, Hytner has assured that at least one version of "The Crucible" will become a part of film history.

Lee's primary objective is to reflect back and offer a uniquely personal perspective of that single day last October. This viewpoint, which ultimately transcends the movie's flaws, is one of the aspects that makes for a worthwhile two hours.

The most intriguing aspects of Extraordinary Measures relate to the behind-the-scenes politicking that goes on to keep the drug development on track, although the screenplay cheats toward the end (presumably because of time constraints and a concern that too much detail might bore audiences).

A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.

This is another movie where politics trump the narrative.

The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.

Joe Eszterhas' screenplay doesn't make sense, and he doesn't bother to hide this fact. In the end, Basic Instinct teases and screws us with the same efficiency that the film's femme fatale handles the protagonist.

In this motion picture, Oliver Stone presents his vision of the forces that drove and motivated the late President. And, factual or not, there's no denying that Nixon has moments when it is nothing short of compelling.

It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.

Works on its own terms, which is more than can be said of most horror films these days. If this is the kind of movie you're looking for, it delivers.

The plot is straightforward and predictable to the point of painfulness.

We believe the dislike at the onset but not the romance at the payoff. And that's a major flaw.

It is a ghastly experience, and I left the theater feeling as if I had waded neck-deep through a stream of raw sewage.

It's openly silly and, by almost every traditional critical standard, it falls a little short of the mark. Nevertheless, I enjoyed Bride of Chucky enough to place it on my ever-growing list of "guilty pleasures," and I recommend it to those who enjoy horror films (although probably not to anyone else). The movie laughs at itself, and I laughed along with it.

The funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.

Cronos is more concerned with ideas and atmosphere than people.

By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.

It's not the best of modern fairy tales but it's sincere and Christina Ricci's earnest and vulnerable performance touches the heart. Penelope is flawed but not irredeemably so.

This is post-apocalyptic adventure as imagined for a teen crowd, and what it lacks in depth it makes up for in action. With a slight running time of 80 minutes, 9 doesn't contain an ounce of fat on its animated bones.

The film has more charm than the average romantic comedy, but, when considered from a bare-bones perspective, it follows most of the rules that define the genre.

This remake replaces suspense with boredom and witty dialogue with lame lines any self-respecting actor should be embarrassed to utter.

For the first time in three films, Roger Moore starts to unearth a personality for Bond.

This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.

Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.

Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.

In the end, you have to possess a sweet spot for Black and his antics to find Tenacious D more than barely watchable.

In all fairness to the film, it is superior to the disappointing second movie in the series. The comedy is about as low-brow as it can get (at least without treading into R-rated territory).

There's nothing terribly wrong with Baby Mama but it's probably better suited for viewing on television, where many of the participants cut their teeth. This is small screen stuff masquerading as something bigger.

H20 is the second-best entry into the series, and, although it's nowhere close to the level established by Carpenter's classic, it avoids the excesses that ruin many would-be horror movies.

Has all the right ingredients: a smart script, a likable hero, a dash of romance, more than a touch of comedy, and a lot of fast-paced action.

Unfortunately for the poor viewer trapped into sitting through this 95 minute mess, the humor is both conventional and unfunny, the script never takes any chances, and the ending is a cop-out.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Considering that 90% of those seeing any production of Hamlet will know the story at the outset, the key to an adaptation's success is what the director does beyond the dialogue. That's one area in which Olivier's 1948 version excels.

Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.

There's hardly a single aspect of this motion picture that seems more than superficially credible, and if the United States government is really run in the Keystone Cops manner depicted in Wayne Beach and David Hodgin's script, then this country is in a great deal more trouble than anyone suspects.

Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.

He's still big and burly, but, at age 54, Schwarzenegger is starting to look a little too old to be involved in this kind of stuff. Action films are the province of younger stars.

Although ultimately a triumphant story, this biography doesn't see its subject through rose-colored glasses. It takes chances, and that's why it works.

Odd, playful, and sweet. It equates the boiling point of water for hot chocolate with the height of passion. With occasional surrealistic fantasy sequences interspersed between the commonplace goings-on of regular lives, the film weaves a subtle spell of enchantment -- until a disappointing conclusion.

There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.

The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.

The "now" scenes feel much like an excuse for four high-profile actresses to lend their names to this film. At best, their presence is superfluous. Yet even had the film remained entirely in the "then" time frame, it still would have been lacking. There's just not enough originality here, no matter what year it is.

My expectation is that Harry Brown will find its strongest adherents among those who remember Caine in The Ipcress File and Get Carter and are fascinated to explore his take on how that sort of character might have aged.

Despite its deliberate pacing, it moves quickly, in large part because of the extraordinary way that Kubrick builds and deepens the sense of dread. Even seemingly normal and innocent moments - such as Danny tooling around the corridors of the hotel on his Big Wheel (with the sound of the wheels echoing on hard wood and muffled on carpet) - are overshadowed by an encroaching sense of the ominous. Technically, The Shining may be one of the most perfect motion pictures I have seen. It's too bad that the same level of excellence doesn't extend to the performances and screenplay. The Shining is well worth experiencing, but it does not rank as a member of Kubrick's top echelon of cinematic achievements.

Throughout the history of film, there has been a select group of standout pictures -- movies that, for technical or artistic reasons, have made an indelible imprint on viewers. Taken as one ten-hour exploration of the human experience, Decalogue is deserving of a place in that unique cadre of films.

Mediocre and recommended only to those who can claim a familiarity with the play.

The film stays true to its unpretentious origins -- it's like a comic book come to life, with an undeniable visual flair, a lot of kinetic action sequences, minimal character development, and a plot that could charitably be called "uneven".

It's ironic that a film with this title should be among the most vital, alive, and challenging cinema experiences of the year.

Another Stakeout offers unfettered (and largely mindless) fun. The humor ranges from mildly amusing to downright hilarious, and the action scenes are handled with an eye for pacing and tension. Perhaps because of the absence of romantic chemistry, the second Stakeout isn't as good as the first, but it's still a worthy successor. Since virtually everyone involved in the 1987 picture is back, the sense of continuity is seamless, both in big and little things. For those looking for uncomplicated summer entertainment, Another Stakeout fills the bill adequately.

Chasing Liberty is not daring or adventurous, but, considering its release date (early January), it's more palatable than one might anticipate.

The Clearing is being positioned as "adult counter-programming" for the summer season, but the benefits of seeing this movie may not be worth the patience necessary to get through it.

Can't decide whether it wants to be a black comedy, dumb farce, or sentimental sit-com.

While this curious clash between a near-modern setting and the much older source material might seem confounding, it actually serves to energize the play, as well as making it more palatable to present-day audiences.

You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.

This film is an absolute mess.

There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.

While Muriel's Wedding has its moments of exhilarating humor, it is, as often as not, downbeat and even mean-spirited.

The pieces and parts assembled herein are familiar, but the manner in which Affleck puts them together results in an engrossing two hours of cinema.

The film delivers with enough consistency to warrant a qualified recommendation for those seeking a few extra scares at this time of the year.

The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.