Kirk Honeycutt

This is resolutely a film of the imagination. As with all films in Malick's slim body of work, its imagery, haunting sounds and pastoral mood trump narrative.

Provides Steve Carell and Juliette Binoche with comic roles that fit them like designer threads.

Mostly, Good Boy! exists for the middle section where youngsters and dogs speak the same language. These escapades, all taking place under the adults' radar, generate many sound laughs.

Even assuming the best possible motives by its makers, Beyond Borders runs the risk of making human suffering exotic while glamorizing white disaster relief workers in the Third World.

The film is stylish as hell with sharp dialogue, a tongue-in-cheek plot and visual and editing razzle-dazzle.

Sunshine is its own creature, taking inspiration from classic science fiction films but insisting on a gritty reality that much improves on past space adventures.

In Channing Tatum, who also starred in "Saints," the film has a good-looking, magnetic hunk to draw a crowd. Terrence Howard lends the pedigree of great screen acting, and Zulay Henao adds charm and glamour.

By avoiding sentimentality, Millions emerges as a simple tale told with sympathy for a child's point of view.

A well-intentioned but unconvincing fable about a young boy struggling to overcome his fear of mortality.

Pixar again hitches top-notch storytelling to the very best in CG animation.

This odd collection of oddballs doesn't quite play out as a satisfying movie.

Director Bryan Singer positions this new film as a sequel to Donner's film, and his Superman -- played with winning fortitude by newcomer Brandon Routh -- is less a Man of Steel than a Man of Heart.

Exquisite storytelling, acting and visuals.

What should have been an inspirational story about fortitude and courage in the face of mind-numbing tragedy becomes a compendium of sports cliches.

The result isn't an unpalatable pudding but rather a fair-to-middling children's film that is half CG-animation and half live-action.

The biggest hole in this picture is not so much whether an audience will buy its miracles but whether an audience will care about Henry Poole. Wilson hits the same notes in virtually every scene without any change to his physical rhythms or moods.

The situations tend toward contrivance, but the atmosphere is easygoing and the actors seem relaxed even when everyone at the family table is yelling.

Downey and Monaghan are wonderful at playing characters that compensate for the harshness of their past with flippant swaggers.

A perky though not terribly imaginative feature aimed primarily at youngsters.

Who Do You Love, directed by Broadway veteran Jerry Zaks, pays attention to the music but to its credit pays even more attention to the actors and story.

A riveting tale of survival and how even war cannot diminish a child's indomitable spirit.

Fur is a misfire by the talented people who four years ago gave us "Secretary," whose tongue-in-cheek approach might have served this film better, taking the edge off much of its pretensions.

In this film, directed by Mike Nichols in one of his most satirical moods and scripted by Hollywood's most politically astute writer Aaron Sorkin, a womanizing, alcoholic, easily tempted bachelor gets elected in a Texas district that doesn't care what he does as long as he brings home the bacon.

More character study than sports movie, the people in this film come across very much as flesh-and-blood personalities despite the script's tendency to indulge in cliches and let characters deliver highly emotional speeches.

The results are entertaining -- up to a point.

Films about serial killers have become so ubiquitous that they now form a subgenre of the crime movie. Even so, Antibodies, has a bracingly original take on the matter.

This is an accomplished suspense-action piece that touches on universal themes of brotherhood, exile, love and honor.

Begins by repeating many gags from the previous film. Only now they feel lame and routine.