James Berardinelli

An excellent movie… if you're a seven-year old girl. That's less a negative evaluation than it is a statement of fact. This isn't a "family film;" it's a "children's film."

Although Hanks' film starts out strong, it finishes on shaky ground... A serio-comedy/fantasy whose light dramatic arc can't support the awkward and unnecessarily melodramatic ending.

For Vin Diesel, starring in XXX is a wonderfully smart career move. Too bad neither "wonderful" nor "smart" are applicable adjectives to describe this film.

Marshall, who helmed the underrated horror film, "The Descent," has a flair for the visual. Some of the mountainscapes, captured by use of a helicopter, are nothing short of spectacular.

Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.

A feeling of hopelessness pervades Sleepwalking.

There's not a slowly-paced scene or a dull moment to be found. If nothing else, this film won't bore the average viewer. However, when Hackers has been dissected, what's uncovered beneath the flashy skin is an old-fashioned, film-by-numbers thriller.

Extreme Measures isn't going to be described as the "slam bang thrill ride" of the Autumn, or any other such nonsense. The film's inherent tension comes not from the shootouts and chases, but from its core ethical questions -- questions that ultimately have to be addressed, not only in movies, but in real life. "If you could cure cancer by killing one person, wouldn't you have to do it?" Obviously, there's no easy answer, and, whether you agree or disagree with the position taken by Extreme Measures, at least the film frames its response in an entertaining, and occasionally thought-provoking, package.

The acting is uniformly superb.

The wheels fall off toward the end but, until that point, Illiadis does an excellent job of generating and maintaining an intense sense of dread.

The plot is so thin that it's not really worth thinking about, but director Antoine Fuqua and cinematographer Peter Lyons Collister have put so much effort into the feel and appearance of the movie that it held my attention.

The length is the film's undoing. No matter how tantalizing the premise, overexposure leads inevitably to boredom.

Scrooge is basically a harmless, fitfully enjoyable version of the timeless classic, and worth a look for those who have had their fill of the more serious adaptations.

Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.

This movie isn't a disaster, but, all things considered, there's little reason to make it a high priority for theatrical viewing.

Stay is interesting, but it's hard to recommend to anyone but the small cadre of David Lynch devotees who will inhale anything with a whiff of similarity to their favorite auteur's scent.

There are bad movies and annoying movies, and this one contains elements of both.

Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.

Although some of the production's technical aspects remain impressive, the dramatic elements come across as trite and many of the musical numbers are dated. Clocking in at more than three hours, The Great Ziegfeld at times tries the modern viewer's patience.

The film has lofty goals, but comes across as leaden and pretentious. It's a character study in which the lead participant is the least interesting person in the movie.

Too often, the film is more like a soundtrack with visuals than a well constructed, fully developed motion picture.

An amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting.

Viggo Mortensen looks the part but never brings it home with great conviction or passion. I never believed in the character and that greatly diminished the film's ability to argue its ethical case.

Wong infuses his films with style and energy. His hand-held camera is restless, always moving and shifting. The action sequences are punctuated with unusual shots and stop-motion jumps. By filming Chungking Express in such rich, vibrant manner, the director uses visual images to underscore his themes.

The problem with The Crossing Guard is not the premise or core theme, but the manner in which director Sean Penn breathes life into the story. This film is horribly unfocused.

One of the best things about True Lies is that it's genuinely funny.

Pride has little to be proud about.

A movie so inane that it fails to rise to the level of "good trash."

Not a great film, but it's an excuse to have an evening of pure enjoyment with a little culture painlessly mixed in.

The resulting hodgepodge of unfunny, sophomoric humor and PG-13 T&A, frosted by a sheen of appallingly nauseous "drama," makes for such a noxious brew that it's amazing viewers stay in their seats for the entire production.

This is essentially a familiar story told with consummate skill.

A silly script and uneven pacing.

There's plenty going on but never any real magic.

When it comes to comedy, Deck the Halls is remarkably tedious.

I'm sure there's an interesting story of sibling rivalry somewhere in She's the One, but Burns has cluttered it up with so much artificiality that it never gels. Who really cares whether Francis and Mickey make peace with each other, or who ends up with what girl? If these things mattered to us, She's the One would have been a success, but since they don't, it isn't. Since New York only needs one Woody Allen, maybe for his next film, Burns will try stretching his thematic and geographical boundaries. Otherwise, his promising film making career may already be in trouble.

While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.

There are times when it is bitingly funny and times when its bloodiness can cause a wince and a shudder - but director Stuart Gordon is not adept at blending the two extremes into a cohesive whole.

Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.

Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.

This movie is a perfect example of what's wrong with many big-budget films today: no characters, no intelligence, and, worst of all, little fun.

By introducing comedy into the mixture and telling the tale from an atypical perspective, Kurosawa has differentiated The Hidden Fortress from nearly every similar feudal era Japanese epic ever committed to the screen. This is a masterpiece that deserves more credit than it is often given.

The film contains enough quiet, reflective moments for us to become aware how preposterous the central conceit is, and that keeps us at arm's length.

The romantic comedy doesn't have much, but it has Kidman.

Tom Jones succeeded in large part because of its wit, its performances, and its energy.

From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.

The original film was gritty and entertaining ("Infernal Affairs"); the new version is a masterpiece - the best effort Scorsese has brought to the screen since "Goodfellas."

While such a loud, brash interpretation may not go down in cinematic history as the definitive version of the play, hopefully it will open a few eyes and widen the audience willing to venture into any movie bearing the credit "based on the play by William Shakespeare."

Fuqua takes a genre picture and, by diverting the story onto an unconventional path, generates a sense of urgency. Tears of the Sun is not a great movie, but it is satisfying, and represents an example of accomplished filmmaking.

There's nothing in So I Married an Axe Murderer to recommend the film, even to die hard Saturday Night Live and Wayne's World fans. This uninspired, completely forgettable mystery satire is bursting with the brand of juvenile humor that only a select few seem to find funny. When it comes to guys named "Mike Myers", it's debatable who's less watchable: the ex-SNL actor or the mass murderer who keeps surfacing in the seemingly-endless series of Halloween films.

One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original.

All About Eve possesses one of the best screenplays ever to grace the silver screen. It also has one of the best performances by an actress in the history of Hollywood features.

This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.

A film as rich in its visual presentation as it is in its emotional resonance.

Boring and uninspired, this movie gives ghost stories a bad name.

It's not so much a bad movie as it is a pointless one.

It combines stylish direction, an intelligent script, first-rate performances, and overpowering atmosphere into one of the most tense and absorbing thrillers ever to reach the screen.

It is at times serious and at times very funny. But it is always perceptive, and that quality, more than any other, is what makes it worth a recommendation.

Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.

If you like Alicia Silverstone, you'll probably enjoy Excess Baggage. This dubious road movie/romance/caper flick is clearly a vehicle for the spritely starlet, and her winsome charm is one of its strengths.

With the flat characters and lifeless performances, it's a wonder that anyone in the audience can stay awake all the way through this dull and dreary production.

The most depressing thing about this movie is not that it's such a complete waste of time, but that there are people in Hollywood who think this kind of thing is what American movie-goers are interested in seeing.

Alpha Dog isn't a happy movie, but it's dramatically solid and the impressions it leaves will not be easily shaken.

Halloween II is an affront to Halloween and horror fans. It's the kind of cataclysmic misstep from which a franchise cannot recover. It has transformed Michael Myers from an iconic movie monster into a laughingstock.

Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.

Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else.

As a whole, Valentin is a moderately entertaining motion picture, but the lack of a satisfying sense of closure dims its appeal.

The movie's sincerity helps it get over some of the most difficult hurdles and the feeling after leaving theater is one of having experienced something worthwhile albeit unremarkable.

Those anticipating something along the lines of Casablanca will be disappointed. Despite the superficial similarities and Warner Brothers' obvious desire to point them out, To Have and Have Not is inferior in almost every way that matters. But for those who visit this movie to vicariously experience the beginnings of Hollywood's most famous romance, it delivers in full.

The tendency for an actor in a role like this is to overact. The result is often disastrous, reducing a character into a caricature. Hugh Dancy, adopting an American accent as effectively as the mannerisms of someone on the moderate portion of the Asperger's spectrum, makes Adam believable and generally sympathetic.

A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.

Most of the time, it's just repetitive.

Hard-core science fiction fans will likely greet Sunshine with a smile. Others may find this to be an odd motion picture, but there's enough going on that even those who are expecting something flashier should still be engaged.

An occasionally maddening and sometimes brilliant motion picture that varies between being insightfully sharp and insufferably self-indulgent. Regardless of whether you appreciate the movie or not, it's likely to stay with you.

As chick flicks go, this is one men can attend with the expectation that they might just enjoy experiencing two hours alongside these down-to-earth, appealing characters.

Perhaps best of all, this is a rare instance in which the 3-D, while not an asset, is at least not a detriment.

It’s a must-see for those with a penchant for droll, avant-garde cinema or anyone fascinated more by technique than narrative. For others, it’s more of a curiosity than a can’t-miss production – a film that may fascinate for a while before starting to seem repetitive and overlong.

As an introduction to the story for someone with no previous exposure to Oliver Twist, Polanski's movie is adequate.

Allen appears determined to craft a motion picture that can be laughed at without plumbing any especially deep neuroses of the human condition.

Despite being a little rough around the edges (as is often the case with the work of maverick documentarians), This Film Is Not Yet Rated is more than just an angry diatribe against the MPAA.

The result is a mature and challenging motion picture, and something that will stick with viewers after the screen has gone dark.

Chilling and creepy, and there's no denying that the most celebrated aspect of the film -- the Clarice/Hannibal connection -- could not have been accomplished with greater skill.

For all of its existential posturing, Being Human ends up being a rather shallow motion picture.

Nevertheless, given Washington's presence and the promise of a virtual reality action story, Virtuosity has some appeal -- provided, of course, the viewers aren't selective.

The film's two big flaws are readily apparent: a clunky screenplay and the miscasting of the lead character.

Up is not as transcendent as last year's "WALL-E," and doesn't rank near the top of Pixar's pantheon of great features, but it's a solid (and in some ways innovative) fantasy adventure that mixes comedy, action, and drama into a satisfying whole.

Carrey is forced to confine his antics to the needs of Liar Liar's unimaginative screenplay, and the results are mixed.

The Client is an example of what happens when a production team does the best they can possibly do with a routine script.

Fast-paced and often witty, but ultimately vapid.

What is missing in depth and philosophical intent is compensated for with humor and humanization.

Contains multiple ax murders, lesbianism, incest, a hanging, and a storm at sea -- yet, despite all of this seemingly enticing material, it's a bore.

Unless you're a fan of Slater or Tomei, or hopelessly addicted to sappy, ineptly-handled love stories, there's no reason whatsoever to subject yourself to this movie.

Offers slim pickings for viewers, regardless of whether they're fans of Woody Allen or not. And I'm sure the French will love it.

The film comes across like a soap opera and there are too many characters and storylines for any one of them to grab the heart and imagination. The film isn't painful but it is disappointing.

Being fascinating and unique, two qualities unquestionably in evidence here, don’t automatically deserve praise and, because of the film’s high quotient of tediousness, I find it impossible to recommend to any but the most devoted of experimental art film lovers. It works very well, however, as a cure for insomnia.

Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.

Reaction to The Weather Man may depend upon an individual's ability to tolerate spending 100 minutes in the company of an unpleasant protagonist. There's no doubt this can be an uncomfortable experience, but it can also be rewarding for those who are willing to endure the discomfort.

Imperfect, but magical nonetheless.

Robinson has assembled an impressive young cast comprised primarily of rappers (such as Tip Harris, a.k.a. T.I.) and fresh faces (newcomer Lauren London).

Dave is proof that predictable movies with only a marginally original premise can still be tremendous fun.

Unfortunately, while certain aspects of Girl 6 are handled with flair, the film's dramatic scope too often isn't compelling enough for subject matter of such rich and varied possibilities.

Undercover Blues is silly enough to deserve some credit, and for those who see it, there will at least be a few laughs. This empty-headed comedy revels in its own admitted idiocy. It's debatable whether anyone would want to pay money for this picture, but when it gets to cable, it will be worth a look for those who are in the right mood. After all, there's always a place for mindless entertainment, even if that place is on television.

Mad Money is a comedy caper where the caper's not interesting and the comedy's not funny.

Adams shines brightly, reinforcing the image she projected in Junebug and enhanced in Enchanted and Charlie Wilson's War. At this time of the year, it's tough to find a more diverting way to spend 90 minutes in a multiplex.

21 doesn't spin a good enough yarn.

Pretty pictures - thats what The Fall has to offer.

It's disposable entertainment at its most extreme.

The movie is still incredibly silly but in a more boisterous way, like a comic book come to life.

Yes, the film is interesting, but it doesn't work.

To an extent, Snakes on a Plane reminds me of "Eight Legged Freaks." It has the same kind of off-the-wall, don't-take-it-seriously comedic horror sensibility.

A remake, done right, was not a bad idea. And, fortunately in this case, it has been accomplished with some flair. The result is a lightweight source of entertainment that maximizes humor and minimizes serious stuff.

The problem here isn't as much the talent in front of the camera as it is the weak and hackneyed script. Vampire in Brooklyn is in need of an infusion (or should that be transfusion?) of originality and creativity -- two qualities that are blatantly absent.

The final 15 minutes are so awful that it's difficult to believe that the bulk of the film is actually decent.

A deliciously nasty, dark comedy.

In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.

Sluggish. Torpid. Boring. Those three words (and more) can describe The Yellow Handkerchief, a stultifying road trip movie whose inept screenplay is only partially counterbalanced by a trio of nice performances.

The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction.

I suppose there are reasons to see That Darn Cat, but only if you're under twelve and desperate, or accompanying someone in that category.

Denzel Washington plays Denzel Washington, good cop. This isn't a great performance, but Washington wasn't brought in to show off his acting chops.

Lightweight, although it exhibits enough heft for us to develop an emotional connection with the main character. I have always appreciated a smartly written motion picture, and, whatever flaws Igby Goes Down may possess, it is undeniably that.

As a date movie or for a solo night out, Blast from the Past offers more than standard romantic comedy fare.

A kinetic, visually dazzling thriller that's actually a notch above many of its predecessors - albeit only a small notch.

The best pure thriller of 2003 to-date.

Whether this is an accurate depiction of how things are in real life, I cannot say, but it's almost always how they are in the movies.

Although Paul Blart is by no means great cinema, there is amusement to be uncovered as we watch Kevin James bumble his way through actions oh-so-similar to those navigated with more blood, sweat, profanity, and dead bodies than Willis. Too bad there's no "Yippekayay...."

This is a tense, well-crafted motion picture that keeps viewers on edge. It's an exhausting 130 minutes; many viewers will leave the theater feeling drained.

Director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat.

Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.

The film's success or failure depends almost entirely on a viewer's ability to relate to and become involved in the lives of the characters. We are with them for less than a week and, during that short time, we come to understand the lifetime of hurt and misunderstanding that stands between them.

The story is overly familiar and the characters are all types, but Cohen's cinematic techniques make The Fast and the Furious watchable.

With each death, the film becomes less interesting. By the end, it's just a routine slasher flick with a too-predictable final "twist."

It has been argued that for characters to be three-dimensional, they must have a past, a present, and a future, not to mention an arc. The Merry Gentleman offers a counter-argument for those who would dispute this.

Psycho is a brilliant excursion into fear that pushes many of our primal buttons, but it lacks the story and character complexity of Vertigo and Rear Window.

Beverly Hills Ninja is essentially a one-joke film.

As a shallow tale of conscienceless bloodshed and revenge, Last Man Standing is reasonably effective. But as an updated version of the far better-realized Yojimbo, it's an unqualified failure. Last Man Standing is a surface picture -- it looks good, sounds good, and moves quickly -- but there's no depth whatsoever.

Devoid of life, intelligence, humor, and anything else that could entertain even the most undemanding viewer, this film is a perfect example of something that should have been shipped to landfills, not multiplexes.

Epic Movie is a waste of time. It's like a bad issue of "Cracked Magazine" come to life. It's not so much painful as it is sleep inducing.

The last 60 minutes offer adventure as rousing as anything provided in either of the previous installments. Unfortunately, that doesn't account for the other 108 minutes of this gorged, self-indulgent, and uneven production.

After watching Microcosmos, it will be impossible to take a walk in the woods without being aware of the amazing tapestry of activity going on all around, yet out of sight.

To date, no motion picture has adequately captured the soaring highs and devastating lows associated with a long distance relationship, but Going the Distance comes as close as any movie has.

The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.

Aside from the likable performers, Forces of Nature's greatest strength is that it flouts several established conventions of the genre.

The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.

You don't just watch Titanic, you experience it.

The picture is a series of mini-climaxes, all building to the devastating, definitive conclusion... It was carefully and painstakingly crafted. Every major character - and more than a few minor ones - is molded into a distinct, complex individual.

A drama about isolation and communication, The Band's Visit is characterized both by strongly delineated characters and low-key comedy. The movie is not lightweight but it is at times lighthearted.

It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.

It has an interesting subtext. I'm referring to the way the lives and friendships of these four individuals crumble in the wake of their accident.

As much as the later movies diluted the character of the Frankenstein creature, nothing could blunt the impact made by Karloff in the role of the most memorable movie monster of all time.

Vincere is Ida's story, but it says as much about fascist Italy and its ruler as it does about the central character.

This brash, glitzy, energetic entertainment has the power to hold an audience enraptured, but, at the same time, there's a sense that what we're experiencing is just candy for the eyes and ears.

A workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie.

Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).

One of the great frustrations associated with Fast Food Nation is the way it drops subplots.

The only thing of real importance in A Man of No Importance is Albert Finney's performance.

It's only possible to have the time of your life once, and, for this franchise, that was in 1987.

The stakes of those deliberations are so high, the personalities of the jurors so forceful, and the arguments so pregnant with importance that there is no instance in which boredom threatens.

Comparisons to the original Bad Lieutenant are unnecessary; Port of Call New Orleans can stand - and fall - on its own merits, inconsistent though they may be.

A Single Man tells us about love, isolation, and sorrow, but never makes us feel any of those things.

So bad that it will annoy and/or bore those who have minimal standards and a high tolerance for sewage.

Saw is for hard-gore horror aficionados only.

Die-hard fans are advised to wait for the video. Everyone else would be better off pretending that this movie doesn't exist. In the long run, you'll have a higher opinion of everyone involved.

The acting by Scarlett Johansson is so raw and sincere that the film leaves an impact despite its deficiencies.

Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.

Those who have learned to enjoy the duo on MTV (for whatever reason) will welcome this as a holiday treat. Everyone else will have a better time if they stay away.

Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.

There's barely a whiff of melodrama in Chariots of Fire, which makes the film-watching experience all the more effective -- director Hugh Hudson shows respect for the integrity of his material and the intelligence of his audience. The absence of mawkish moments provides the narrative with a genuine quality that supports its factual background.

In general, thrillers are among the easiest movies to do poorly and the hardest to do well. Body of Evidence takes the easy road, and ends up as a shambles. This is the kind of poor effort that's difficult to forgive.

Whether it works as a traditional motion picture is up for debate. However, it’s short enough (about 90 minutes) that it never overstays its welcome and is generally a fun, wild ride, even though it may at times be difficult to figure out where the journey began and where, as the 1964 Chevy leaves the streets like Doc’s DeLorean in Back to the Future, it ends.

The new Ivan Reitman/Arnold Schwarzenegger comedy is a one-joke affair, and it takes surprisingly little time for the potential humor in the situation to wear thin.

The Big Sleep remains one of Hollywood's most intriguing and enduring examples of film noir. It's a movie that every film student should study and every movie lover should watch at least once.

In addition to telling an involving story, This Is England is insightful and informative.

The key to the film's success is that it uses the burned out premise as the springboard for a comedy, not an action flick.

The storyline is so infantile that it will appeal to young kids.

An effective character study of a figure who has attained an almost-mythical status among track-and-field followers.

Entirely inoffensive, so it makes for perfect family fare -– but only if the children are young enough to be indiscriminating about what they're seeing.

This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.

The film has too much surface beauty not to earn it a recommendation, but Days of Heaven satisfies only on a sensory level.

Too much in Nacho Libre doesn't work to enable me to recommend it to anyone except a card-carrying member of the Jack Black fan club.

Saying bad things about Never Been Kissed, an unapologetic crowd-pleaser, makes me feel like the Grinch stealing Christmas, but there are some things that can't be ignored.

Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.

It's tough to make a good tearjerker - one need look no further than this misfire to understand why.

If Superman was an eagle streaking across the sky, Supergirl is the result of that eagle’s bowel movement.

Although the satire is biting and the tone is irreverent, Drop Dead Gorgeous lacks the killer script and top notch performances necessary to make this a wholly successful production.

Tropic Thunder understands movies, understands the system in which they are created and, most of all, knows what it takes to make an audience roar with laughter.

A respectable and satisfying historical romantic melodrama.

Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.

The emotional resonance that results from the focus on several unique individuals is what makes this a worthwhile viewing experience.

Filmed in black-and-white with an eerie score by Neil Young, and using contemporary dialogue and mannerisms, Jarmusch's picture has a dream-like quality.

Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.

For those who enjoy ghost stories and are willing to be patient with a movie that gradually unveils its secrets rather than uncovering them all in an orgy of violence and terror, The Orphanage fills a need. The spell it casts early does not evaporate until the epilogue is finished.

Paradoxically, there's a lot less gore. There is blood, of course, but nothing excessive by slasher-movie standards, and there are no depictions of spilled entrails. Craven has remembered that scares are more important that graphic displays of human insides and bodily fluids.

Appealing and genial with plenty of solid laughs, and worthy of a recommendation for those who appreciate this kind of thing. Just don't expect material that's edgy, dark, or challenging. Consider Love Actually the antidote to "Mystic River."

The problem with this movie is that Wallace has attempted to squeeze a 500-page book into a 130-minute motion picture, something that can't be done without major sacrifices.

Solidly entertaining.

Watching Live and Let Die isn't a complete waste of time, but there's no overriding reason why anyone should go out of their way to see it unless they're a die-hard Bond fan or are curious about Roger Moore's first turn in the role.

High Society doesn't just have a voice -- it has a heart and a soul as well.

United 93 is powerful not only in the way it provides hope through the actions of a few unlikely heroes, but in its ability to take us back through time to a day many of us would prefer not to remember, but will never forget.

This is the one Godzilla movie in which the title character plays second fiddle to the humans. While the film's moral and ethical situations are interesting, they are not as compelling as the film's adherents would have us believe, and their resolutions are simplistic.

Imperfect as it may be, Bowling for Columbine is riveting stuff.

Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."

If there is another challenger for worst entry of 2007, I don't want to see it.

Russell is the reason to go to the theater. He will continue to hold your attention when things around him -– like the storyline -– lose steam and credibility.

A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.

Almost paradoxically, 2010 may be unnecessary, but it is nevertheless a worthwhile effort.

Whether you view this film in the middle of the summer or at Christmas, Capra's greatest film represents one of the most transcendent and joyful experiences any movie-lover can hope for.

It's not startling or frightening enough.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

This balls-to-the-walls action/adventure makes the average James Bond film look like something by Eric Rohmer. It’s high rent Steven Segal - fights, explosions, and more fights, but with a flair.

With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.

The movie's central flaw: it's not funny enough to be worth the price of admission.

The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.

The breath of fresh air, to the extent that one can be identified in the staleness of this recycled refuse, is John Cleese.

A Bug's Life, like “Toy Story,” develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

An "intelligent" action film, because it presents the viewer with an opportunity to puzzle things out rather than sit mindlessly and watch people get blown to pieces.

Starts out as an effective little horror movie before devolving into an incoherent mess during its final 30 minutes.

Empire of the Sun remains a solidly engaging story of heroism in the face of adversity, as filtered through the eyes of a boy obsessed with planes and flight.

Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.

Unfortunately, the material doesn't justify the talent. These women deserve more than Calendar Girls ultimately gives them.

Manages the task of being both heartbreaking and heart-warming.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

As far as I'm concerned, it's official: Hollywood has lost the art of how to make horror films.

Disgusting, offensive, and utterly without merit. And, on top of that, it's boring and pretentious.

The slow, uneven beginning is more than compensated for by the rousing climax.

Iron Will's presentation of family values and reliance upon formulas are distinctive. The film has enough action to keep it from becoming boring, but there are too many flaws for this to be considered anything more grand than adequate entertainment.

Simply put, Rear Window is a great film, perhaps one of the finest ever committed to celluloid. All of the elements are perfect (or nearly so), including the acting, script, camerawork, music (by Franz Waxman), and, of course, direction. The brilliance of the movie is that, in addition to keeping viewers on the edges of their seats, it involves us in the lives of all of the characters, from Jefferies and Lisa to Miss Torso. There isn't a moment of waste in 113 minutes of screen time.

These are fascinating, three-dimensional individuals brought into the foreground by a pair of today's finest actors.

The result is an entertainingly sudsy trip through early 16th century English history.

Kinetic, atmospheric, visually stunning, and mind-bending.

When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

The lackluster acting and horrendous dialogue don't help.

I suspect that mainstream audiences will find plenty of things to take pleasure in, even though some viewers may be bewildered by what the Coens do. But for those who share my taste in comedy, this is a must-not-miss.

El Cid is about as self-important as a motion picture can be. Regardless, there are still moments of breathtaking, almost transcendant splendor, when the film makers attain the grand aspirations they strive for.

If you go to Eight Legged Freaks expecting anything but a campy, cheesy romp, then you have wandered into the wrong theater. This movie is for those who like smart (often self-referential) humor and cheap thrills.

Gruesomely engaging.

As it currently stands, Kill Bill is a victim of its director's ego and its distributor's greed. The moments of greatness make it worth seeing, and there's certainly plenty of entertainment to be found here, but it's hard not to lament what might have been.

There are times when Troy is stirring and engaging. However, at least as often, it is flat.

A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.

This role could represent a career performance for Cheadle, whose forceful and multi-dimensional portrayal keeps Hotel Rwanda at a consistently high level.

An accomplished film that uses dark humor to leaven its serious topics.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.

Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.

Sean Connery is perfect for the King Arthur role. Too bad he isn't given more to do than stand around looking regal.

There's nothing special, shocking, or precedent-setting about the film, but it functions on a level that 007 fans will appreciate - as eye and ear candy for those who prefer action to exposition and character development.

It's the kind of film that will resonate only with a tiny fraction of the available audience. Unless a viewer's age and situation mirrors that of Posey's Nora Wilder, odds are that this movie will generate a sense of déjà vu.

Only a director in complete control can fashion something so effortlessly chaotic. What’s Up Doc? is one of the signature comedies of the 1970s whose throwback mixture of madcap hijinks and rat-a-tat-tat dialogue still works for a generation twice removed from its influences.

It boggles the mind to consider that the fertile writing team of Alec Berg, David Mandel, and Jeff Schaffer, all of whom spent time scripting episodes of "Seinfeld," could turn out something as abysmally unfunny as Eurotrip.

Reitman brings the same mixture of comedy and drama to this movie that he brought to "Juno."

If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.

For a while, Limbo seems like it might be a slow-burning romance and tale of redemption, but, as is often the case, Sayles takes his audience in unexpected directions (unexpected because they defy comfortable, traditional narrative routes).

This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.

Inept storytelling is one of Lords of Dogtown's great frustrations.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

An infectious mix of romance, mystery, and magic.

There's some potential in this storyline, but the movie doesn't do much with it besides giving Martin Short an opportunity to put on the fat suit.

The film has energy but isn't well paced. Nothing about it quite gels.