James Berardinelli

The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.

It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.

The easiest way to summarize my reaction to X-Men: First Class is with a shrug.

A grim, thought-provoking drama. It aims to be both heartbreaking and (in an odd way) inspirational, although the former is more convincingly conveyed than the latter.

This is the most mature animated feature since "Rango."

It delivers what it's expected to deliver, and that's likely to make it a success with anyone who laughed his ass off two summers ago.

The film is constructed in such a way that suspension of disbelief isn't too hard because there's something universal in what Allen explores. Like Santa Claus, we know it's not real but the idea is so appealing that we go along with the fantasy.

As a movie, On Stranger Tides would have to be considered a failure. The story does not engage, the characters are stick figures, the action sequences are perfunctory, and the whole enterprise reeks of being a money-grab.

There are not a lot of laughs in Dan Rush's directorial debut, nor are there intended to be. Rush keeps the tone as light as possible, but no one would mistake this for anything other than a quirky, character-based drama.

Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.

Perhaps the best thing that can be said about Thor is that it doesn't feel like a cookie-cutter superhero comic book origin story.

Overlong and at times tedious; the taste is gritty and lingers unpleasantly.

Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.

In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.

Sadly, passion and romance are two ingredients missing from this melodrama, which does an excellent job of re-creating the Depression-era circus business.

Its unique take on a common subject lends freshness to the familiar and provides a worthy motivation for seeing this.

Scream 4 is so obsessed with the self-referential element that made the original Scream unique that it loses the capacity to be genuinely scary or funny.

The only thing surprising about this lackluster animated production is that it attracted an A-list voice cast.

It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie.

Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.

The movie's realistic portrayal of the ingredients that can lead to bullying and other forms of unkindness inflicted on outsiders by those in power, speaks strongly to viewers watching in the 21st century.

It's better than most dramas showing in multiplexes.

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

If there's a complaint to be made about Insidious, it's that the film's second half is unable to live up to the impossibly high standards set by the first half.

Well paced and energetic; it's unlikely to bore anyone.

This movie isn't bad in the way some incompetently made movies are bad; this is bad because there's much skill evident in a pointless endeavor.

The special effects budget is on the high side but those effects serve the story rather than the other way around, and Paul is all the better for it.

The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.

In the best tradition of mystery thrillers of this sort, it satisfies enough on an emotional level that we're willing to forgive any intellectual, procedural, and logical shortcomings.

Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.

At least the werewolves in Red Riding Hood have teeth and, when in human form, they don't parade around shirtless.

Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

Beastly was made with tween girls in mind. It's the kind of love story a viewer can believe in when she is indiscriminating enough to ignore bad acting, bad writing, and mediocre filmmaking.

Perhaps the most surprising thing about The Adjustment Bureau is that, irrespective of the misdirection of the trailers and T.V. spots, this is more of a romance than a science fiction thriller.

The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.

The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.

Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.

Akin to watching a bad sit-com that never ends.

Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.

It's refreshing to find a horror movie interested in more than slashing and gashing.

It may work for those in search of a good cry but as a story of a damaged woman to touch the soul, it misses the mark.

Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.

There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

Even as a mindless diversion, it's weak.

The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.

Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.

The only arena in which Gulliver's Travels plays an adequate game is in visual effects.

This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.

Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.

The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.

Made in Dagenham is a useful lesson in history and a reminder that we yet have a distance to travel to attain the goal, but the narrative is dry, safe, and predictable and, as a result, not fully satisfying.

Above all, however, Kevin Spacey is the reason to see Casino Jack. This movie will stand alongside "The Usual Suspects" and "American Beauty" as examples of what the actor is capable of accomplishing when he is properly motivated.

The problem with the film has little to do with the central triangle, which is engaging enough in a formula-driven way, but with the myriad uninteresting subplots that dot the cinematic landscape and have the unfortunate effect of padding the proceedings to the point of unwieldiness.

Megamind is largely what one might expect from an animated movie featuring a number of notable comedians in voice roles: an amusing diversion.

They had 28 years, and this is the best they could come up with?

Not without humor, but it lacks the explosive spontaneity of "The Hangover."

a 95-minute thrill ride from director Tony Scott, delivers the right level of adrenaline.

The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

Grim but holds the attention; it does not, however, offer the kind of mindless action excursion that many will be anticipating.

As preposterous wannabe Hitchcockian thrillers go, this one is adequate.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

A small group of viewers will find in Burlesque a gem to treasure for years to come. It's a bad movie lover's wet dream. For the average multiplex stalker, however, it exists somewhere between inconsequential and a waste of time, so that's where I'll peg it.

Ultimately, the plot (irrespective of how faithful it is to real life) isn't the problem - it's the unevenness with which co-directors Glenn Ficarra and John Requa (both making their directorial debuts) approach it that limits the film's success and mutes the experience of sitting through it.

Despite providing an opportunity to spend 147 minutes in the company of people we have grown to know and love over the years and advancing the narrative toward its final cataclysmic confrontation, The Deathly Hallows Part One underachieves. At a time when Harry Potter should be soaring to new heights, it remains curiously grounded.

A dull, meandering storyline and visuals all-but destroyed by a second-rate 3-D conversion make this movie inferior to its predecessors.

The film, although deeply flawed, is at times compelling, even if it seems as if a reel is missing.

The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.

Offers enough suspense to make it worth the price of admission.

Just plain bad. Boring. Unwatchable.

At times Client 9 feels frustratingly incomplete. Gibney hints at a conspiracy among Spitzer's enemies but is unable to fully substantiate this thesis.

The film is at its best when it is at its most goofy, at times coming close to the laugh-aloud outrageousness of Will Ferrell's "Anchorman."

This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.

An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."

Monsters works not because of its representation of alien creatures or its somewhat derivative back story but because of the atypical manner in which it approaches the character-based narrative.

The clumsy and obvious byproduct of the financial success of its predecessor last Halloween, this movie has no reason for existing except to provide Paramount Pictures with a few extra shekels.

Hereafter is a fascinating, absorbing motion picture, but will work only for those willing to surrender to the story as it unspools at its own deliberate rate.

The strongest, most consistent performance is provided by Sam Rockwell, who displays a wide and convincing range of emotions.

The craftsmanship is impeccable as is the acting, but the storytelling is where the movie falls down.

Boasts a strong ensemble of performances. Martin Freeman is the perfect choice for an ordinary, unheroic Earth guy.

The problem is that the writing is too weak for me to come close to recommending it.

Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

Mulholland Falls isn't a bad film, but it definitely is disappointing, especially coming from director Lee Tamahori, who brought the powerful Once Were Warriors to the screen. Tamahori's direction is inconsistent, but, ultimately, this movie is undermined by its screenplay. Certain aspects are laudable, but, all things considered, those elements aren't enough to keep Mulholland Falls from slipping over the edge into mediocrity.

It's remarkably appropriate that Envy is about turds, because that's what the movie is.

Too few motion pictures cause us to think and feel this deeply.

Even children, who will be enthralled by all the puppies, may have a hard time not fidgeting for protracted portions of the running time.

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.

Mehta has created a pair of memorable characters who are easy to empathize with, and who gratifyingly are never transformed from flesh-and-blood individuals into mere symbols.

Put simply, WALL-E is about as charming as movies get.

An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.

Eisenberg, one of those young actors who has existed just below the radar for several years now (he was the lead in both "Zombieland" and "Adventureland," not to be confused with one another), deserves an Oscar for this dead-on portrayal of a temperamental genius.

More likely to end up on the snow pile of forgettable Christmas-themed movies than in the vault of memorable ones.

The result is magical and life affirming, and will enrapture those who are not scared away by the mention of "subtitles."

Two if by Sea has a drab, dreary tone that's due as much to the unenthusiastic performances as to the bland direction. If anyone was having fun making this film, it doesn't come across. Star Wars' gold droid C3P0 had more humanity than all of Two if by Sea's characters combined. Because I never cared about Frank or Roz, the "feel good" ending left me cold. And, to think, I wasted over an hour and a half in a theater with this movie when I could have been outside shoveling snow.

A gripping, powerful motion picture -- arguably the most forceful depiction of Jesus' death ever to be committed to film. It leaves an indelible imprint on the psyche; viewers of this movie may never look at a crucifix in quite the same way.

The presence of so many low-key performers gives A Serious Man a very different, distinctly non-Hollywood vibe. The absence of familiar faces allows the Coens to fully immerse their audience in the time (1967) and place (the U.S. Midwest) of the story.

Represents solid family entertainment, and will find a special place in the hearts of those who adore the "Godfather" movies and the TV series "The Sopranos."

Cyrus is affecting, but not in a clean, easily recognizable way. It is funny, but in a warped manner more likely to provoke unease than unbridled laughter.

SubUrbia is about 95% dialogue, some of which is clever, but much of which is pointless.

Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.

Although Rumble in the Bronx isn't Chan's best work it's still ninety minutes of solid, campy entertainment. Most of the running time is devoted to the slickly choreographed action scenes, leaving virtually no room for plot or character development.

It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.

Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.

One of Lee's great successes with this film is that he is able to present every character, regardless of race, gender, or age, with three-dimensionality and a degree of sympathy. No one is demonized or lionized. No one individual is blamed or exonerated for the events which transpire. Each individual with significant screen time is shown to have good and bad qualities, and we come to understand what motivates them, even if we do not agree with them.

Pretentious and self-indulgent -- those two words come to mind when considering CQ.

As animated films go, this is easily the best of a weak year.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

The film is as powerful as any narrative motion picture in telling a story that rips at the emotions.

While the material forming the basis for The Crush can't make any claims of originality, there's certainly enough there to craft a decent film around. With a challenging story, a real script, and actors willing to take a few chances, The Crush could have been enjoyable. Essentially, all that would have been necessary for a success is a complete scrapping of the film that was actually produced. Even lovers of formula thrillers will find this picture hard to swallow.

There's more contrived melodrama in these two hours than romance fans could reasonably hope for.

If you take The Postman at face value - that it's a straightforward, post- apocalyptic adventure tale, then it could seem like one of the worst movies of the year, if not of all time.

Salt is more than mere seasoning; it's a full bouillabaisse comprised of bits and pieces of James Bond, "The Manchurian Candidate," "The Bourne Identity," TV's "24," and the Nelson DeMille novel "The Charm School."

There are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.

If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

This is not a masterpiece, but it contains moments of rare beauty and its contemplation of life, death, regret, and memory has a subtle power.

The energy is missing in the remake because the techniques, which are replicated in a straightforward fashion, are stale.

The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here.

It has great action sequences, more than a splash of legitimately-funny humor, solid performances from engaging actors, and a script that doesn't demand much mental exercise.

It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.

What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.

Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.

This is a movie to be savored by those who are familiar with the work of Glenn Gould, and an opportunity for those who aren't to explore the essence of a rare musical genius. It's an eclectic film, and an astonishing portrait.

The result is a grim, startling motion picture.

Girls Town does an excellent job of uncovering the angst, pressure, and doubt associated with the late teenage years. Its a refreshing film, not only because it shines the spotlight exclusively on girls (all the male characters are incidental) but because it does so without a whiff of exploitation.

Light entertainment, this is not. Unforgettable and challenging cinema, it is.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

Darkly effective, and its grip lasts longer than we might be entirely comfortable with.

Bright, colorful, and exhilarating.

It will bore you.

Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.

Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.

The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.

A script that, at its best, is inconsistent, and, at its worst, is laughably implausible and riddled with obvious flaws.

Not only is it a thrill-a-minute ride, but it has one of the best film villains in recent memory, a hero everyone can relate to, dialogue that crackles with wit, and a lot of very impressive pyrotechnics.

[The film] occasionally had me convulsed with laughter.

Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.

There's nothing excessively problematical with The Recruit that excising the final fifteen minutes wouldn't cure.

Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.

A clunky script that reduces the characters to one-dimensional stereotypes.

This is a film of powerful ideas, impressive set design, and compelling performances.

Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.

The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.

Unfortunately, much of the skill and craft evident during the first hour evaporate during the second, when mayhem and bloodshed supplant legitimate scares and intelligent writing.

It is legitimately unwatchable.

A tender movie about a poignant and difficult subject.

At its best, Dumb and Dumber is like an Ernest movie with a scatological bent.

Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.

Insultingly, Frankenheimer concludes the movie with a short sermon about the fine line that separates man from beast. If the director actually wanted to get this point across, he should have worked it into the film rather than tacking it on as an afterthought. It is, after all, an integral aspect of the source material. That it has been so thoroughly excised from the main plot isn't The Island of Dr. Moreau's only problem, but it's symptomatic of the flawed mindset that went into planning this occasionally incoherent and ultimately disappointing motion picture.

An intellectually and emotionally exhausting and engrossing experience. It is drama of the highest caliber.

It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.

A feel-good movie that offers enough comedy and romance to warm the heart without risking a sentimental overdose.

It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.

Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.

There are plenty of small pleasures to be found throughout Darnell Martin's feature, but a compelling storyline featuring three-dimensional characters is not among them.

It's not as crisply directed, and the plot holes are easier to find, but Die Hard 2 is filled with the same sense of good-natured, wisecracking fun that infused the original.

There's no question that State of Play feels a little rushed and the density of plot can be daunting, but the resulting tale unfolds with an urgency and sense of verisimilitude that will keep most viewers intrigued and involved without losing many along the way.

A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

As in all powerful films, the content unfolds onion-like, with each level being peeled back to show something fascinating beneath.

The three leads provide convincing performances, with Dakota Fanning being the standout.

Sluggish, conventional, and almost completely lacking in energy.

I'll be among the first to admit that Timothy Dalton is a fine actor. But giving a solid performance has little to do with being a good James Bond, and, as accomplished as Dalton is, he's a failure as 007 in The Living Daylights.

This movie is keen, clever, and -- most important of all -- a nonstop exercise in hilarity.

The film is fascinating and at times disturbing, but Winterbottom's arms-length style mutes any emotional impact.

The strength of the screenplay and acting provide a satisfying, although not overwhelming, two hours of romance, drama, and tragedy.

The Vanished Element provides an opportunity for those who enjoy the conceits and stylistic approach of neo-noir thrillers but are looking for something less entrenched in the standard narrative structure.

When a movie wants to be sold as a spectacle, it had better deliver something more spectacular than this.

With Rebecca, he (Hitchcock) illustrates an aptitude for crafting not only psychological terror but drama and romance.

One key missing element: the world in which this story takes place never feels unique. We aren't drawn into it the way we were with Middle Earth or Hogwarts. In fact, with all the airships flying around, there are times when it feels like an extension of Stardust.

Surprise of surprises, Revolver turns out to be worse than "Swept Away" - and not just by a little bit.

Easy A may not be a great movie, but it is a knowing and enjoyable one.

Dancing along a line just shy of the edge of brilliance, In the Loop possesses an incisive, take-no-prisoners comedic style that offers plenty of solid laughs while making a point about the stupidity, selfishness, and lack of awareness that exists within the highest echelons of government.

On the Waterfront may have baggage, but that doesn't prevent it from being one of the great American productions of the mid-20th century.

The problem lies in the screenplay which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.

The Last Airbender is an insult to anyone with a triple-digit I.Q. and a willingness to use it inside the confines of a movie theater. This is bad filmmaking and bad storytelling. It also sounds what should be the death knell to M. Night Shyamalan's career.

What Brown Sugar lacks in originality, it makes up for in charm.

The film is sporadically amusing but gives the impression it should be generating more laughs than it does.

Using parody as its means, Fear of a Black Hat has a lot to say about the exploitation that surrounds the rap music business. This movie is not tightly-scripted or elegantly produced, but it is (for the most part) highly entertaining. For those who have been waiting for a sequel to Spinal Tap, this may be the best alternative.

I am conflicted about this film. I like the fact that it takes chances. I appreciate that it's trying to do a supernatural love story without falling into the schmaltz of "Ghost." Yet I recognize that the screenplay is like Swiss cheese - riddled with hole.

Obviously, the primary reason to see James and the Giant Peach is for its visual splendor.

She's So Lovely isn't a flawless production, but it's a fitting tribute to John Cassavetes, and a reminder of the many ways that a woman can be under the influence.

It isn't difficult to identify those who will and won't like this film. There's plenty of violence, lots of fights and explosions, and the miniatures special effects work is impressive. A sizable portion of the Seagal crowd will likely be annoyed by the environmental message and the Eskimo religious practices because they interfere with On Deadly Ground's pacing. In the end, however, there's probably enough bang to overcome these flaws for Seagal's fans, if not anyone else.

This movie isn't bad just because it follows a formula slavishly but because it does so without verve or passion.

The Edge of Heaven is marked by a number of remarkable performances.

I suspect City of Angels is going to remind many viewers of “Ghost,” but there's a big difference: this film is more true and less manipulative.

Valkyrie, despite being a more straightforward thriller, is less gripping than "Downfall," the most recent film in which Hitler had significant screen time.

Nil by Mouth is as powerful as it is uncomfortable, and those in search of a pleasant movie-going experience would be best served looking elsewhere. However, for anyone who isn't bothered by the thought of experiencing a shock to the system, this film is not to be missed. It approaches a serious social issue in the best, most dramatically true manner.

The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.

Watching Singin' in the Rain is an exuberant, magical experience – a journey deep into the heart of feel-good territory. Sitting through the film's 102 minutes is like ingesting a mood-altering drug. It's the perfect antidote to the blues and the blahs, and a way to bolster, enhance, and extend a natural high.

Despite a slow start, the movie eventually slips into a congenial flow. Unfortunately, Guarding Tess ends up derailing because of a ill-conceived ending that has something to do with a silly kidnapping subplot.

The quality of the writing is more than a notch below that of our show. Most of the jokes aren't as witty, and the laughs come less frequently. Maybe it's because so many of the things they do in the movie are lifted directly from the show, but a lot of stuff seems stale.

In a summer of high-octane action and testosterone-boosted thrills, this movie is out of its league.

The ending is weak, and may be the result of the filmmakers writing themselves into a corner and not wanting to conclude things in a burst of nihilistic excess. Yet, even though it's a cheat, it retains a degree of resonance.

The film is preposterous to the point of distraction, where the necessary level of suspension of disbelief exceeds the capacity of a normal, thinking person.

The problem with the film is that that story, hackneyed when it first made it to the screen in 1984, has grown only more tired over the past 26 years.

For those with a taste for outrageousness and an appetite for horror, there's no juicier meal than the Evil Dead movies.

Even had it possessed a less intelligent script, After Life would have been intriguing on the basis of its central conceit alone. However, with Kore-eda's skillful hand behind both the camera and the pen, the result is a rewarding cinematic experience.

Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.

At long last, someone has crafted a worthwhile superhero spoof.

Things might have been okay if this film had gone someplace, anyplace, but it stalls early, then coasts through an hour of minimally-amusing material before screeching to an amazingly improbable stop.

At times darkly funny and at other times depressingly tragic. It's safe to say there aren't any movies out there quite like this one.

While Monster House is in no way groundbreaking, it's an enjoyable way to spend 90 minutes, and is suitable for all but the youngest children.

By aiming his film at children, director David Mickey Evans strips the movie of all potentially interesting elements, leaving behind material likely to appeal to only the least discriminating viewers.

The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.

Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.

A shamelessly uplifting motion picture that attains its feel-good status by forging a deep emotional connection between the undertrodden protagonist and the audience.

With this cast, this director, and this source material, I expected to be swept away on a wave of enchantment, but nothing close to that happened.

"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

Not great fantasy, but it's on more solid ground than "The Golden Compass" and will seem less baffling to some. There's enough here to keep adults engaged, which is an important component of any motion picture that wants to be known as "family entertainment."

While "Love, Actually" succeeded in providing well-developed characters in (mostly) interesting situations, He's Just Not That Into You is often flat with subplots that feel rushed and/or contrived.

Unfortunately, a little too much pointless running around coupled with the underdevelopment of several key characters results in a movie that's never more than mildly diverting.

Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.

Career Girls is a wonderful diversion -- expert film making that's all the more effective because it seems so natural and effortless. The movie lacks the grit of Naked and the emotional impact of Secrets and Lies, but, because it effectively transforms two strangers into people worth caring about, Career Girls can be regarded as nothing less than a success.

For the most part, the documentary segments, in addition to being unilluminating, are intrusive.

It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.

The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.

Hush has three very simple problems: it's incredibly dumb, it's incredibly boring, and it's incredibly predictable (at least up to the stupefying ending).

An inferior product. It is not well written, well acted, or well directed.

There are good things to be said about The Spirit, but not enough of them to outweigh the bad.

The film occasionally pokes fun at itself, although not nearly as often as it should. I don't recommend it for anything more significant than a bottom-of-the-barrel rental or a desperation cable choice, but it delivers what it advertises, and I suppose that could be considered a virtue.

The result is an entertaining and sporadically engrossing two hours.

I found the most extreme material to be so tasteless that it voided all comedy.

The rich texture of Hoop Dreams' drama is its greatest asset.

Carrie is just a bad movie, with only Spacek's performance making significant portions of it watchable. And the film has not improved with age. It looks just as cheap, cheesy, and ineptly made today as it did when it was first released.

It is among the most powerful early arguments in favor of a minimalist approach to filmmaking and champions the effectiveness of the close-up when used properly. It's hard to imagine anyone today arguing its place in the pantheon of Silent Olympians.

The Simpsons is interested in being a family film, although this is one of those rare animated occasions when adults are the primary audience. I, for one, couldn't be happier.

Fred Claus is less enchanting than the 2003 fairy tale, "Elf" (which was directed by Vaughn's good buddy, Jon Favreau), but no worse than the inexplicably popular Tim Allen series.

This isn't as much a movie as it is a recipe for a cinematic casserole in which the ingredients are clichés and rip-offs.

This is a bad movie with a good sense of humor.

It's almost unfair to make the comparison because there are so many fundamental differences, but the closest recent movie to Romance and Cigarettes is "Moulin Rouge." The key likeness is easy to spot: the characters spontaneously break into familiar pop songs.

Sweet and light. It's a celebration of cultural diversity and an affirmation that, despite differences in race, religion, and societal norms, people are essentially the same.

A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.

Anything Else may not be the second coming of "Annie Hall," but it has more wit and substance than almost every post-college romance that sees the inside of a projection booth.

Miracle is inspirational and uplifting -- qualities we are as much in need of today as we were during the winter of 1980.

This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.

If I see another send-up of Sharon Stone's character in Basic Instinct, I think I'll walk out of the theater. It wasn't funny the first time, and, by now, it's gotten downright annoying. Who cares if she uncrossed her legs without any panties on? Let's move onto something new. Belaboring that issue is like watching this movie: pointless.

You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.

As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.

The 1972 movie was better paced and presented a superior story but this one has its own pleasures. It's an interesting failure - a film that works more successfully as a study of technique and writing than as a motion picture.

The jokes, which are frequent and frequently successful, make this motion picture worth sitting through, even though, at nearly two hours, it runs on for far too long. For those who are just looking for a movie that scores high on the feel-good comedy scale, Multiplicity is a can't- miss choice. In the end, however, I couldn't help wishing that Ramis had tried for something a little more ambitious, rather than settling for a multiplicity of laughs without much genuine substance.

Those who are more discriminating than the average 9 year-old will discover that The Quest for Camelot rapidly grows tiresome. Consequently, any adult on a search for the holy grail of animated pictures is advised to keep looking.

What Dreams May Come has the sensibilities of an art film placed into a big-budget feature with an A-list cast.

With its appealing blend of animated comedy, romance, and adventure, Shrek 2 follows the formula of its predecessor while maintaining enough originality not to come across as a direct copy.

The tone is perfect; this is one of those rare films that, despite being rooted firmly in the world around us, is utterly absorbing and capable of reducing the immediacies of life into abstract thoughts in the back of one's mind.

An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.

There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.

The Devil's Advocate is a highly-enjoyable motion picture that's part character study, part supernatural thriller, and part morality play.

This is one of Levinson's best films, and the screenplay, co-penned by noted writer David Mamet (along with Hilary Henkin), is brilliantly on-target.

District B13 is action porn. It's a series of amazingly choreographed, kinetic action sequences tied together by a laughably bad script and worse acting.

There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.

Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.

Philip Seymour Hoffman is in fine form as a man teetering on the edge.

Unfortunately, an A-list group of actors doesn't mean a lot when there isn't much of a script.

It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.

Good entertainment stretched to three times its natural length is rarely three times better, but bad entertainment dragged out that long will typically be three times worse. In the case of Demon Knight -- which probably doesn't have ten minutes of worthwhile material -- such a statement could be regarded as infinitely kind.

The material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.