Luke Y. Thompson

Perhaps realizing that rare performances in snoozers like "The Horse Whisperer" and "The Last Castle" weren't doing him (Redford) any favors, he seems to have entered a new phase in his career, with a wealth of old man roles now open to him. He was very good in last year's "The Clearing;" he's better in this.

Isn't quite as offensive as it sounds, nor is it in any way rousing; Spacey and Bridges are watchable, but nothing more.

This sort of thing is the problem with making stuff up as you go along.

It's a skillfully made film, but not especially fun to watch, and the apparent thesis that poverty justifies such acts doesn't quite wash.

Is it worth the goofy characters and weak story for the effects and action sequences? Absolutely.

Everything leading up to the finale is funny and often heartfelt.

Nothing deeper than a stale retread, it seems. And this is coming from a critic who listed the original "Charlie's Angels" movie as one of the top five films of 2000.

As intriguing as the combination of Binoche and Grillo might sound, it would be much more impactful if they shared the screen for more than a handful of scenes. As such, the movie begins with a bang, but it ends with a whimper.

A key problem here is that the film is adapting a short story, and, as such, has to pad it out to feature length -- it still comes in at a scant 82 minutes, about 52 minutes too long.

Fortunately the film's humor kicks in with McKenzie Brothers Rick Moranis and Dave Thomas stealing the show as a dopey pair of moose. Could've done without Phil Collins's generic, annoying tunes.

If you've never seen a Sandler movie, however, this isn't the one to start with. Proceed only if you're sure you like the guy.

Actually quite amusing, thanks mainly to a script that keeps the gags flying so fast that even though so many of them are bad, they're quickly followed by something new, and occasionally something good.

If Chicken Little were in 3-D, shown in a theme park as you sit in motion simulators, the lame gags might not be so much of a problem.

Don't go to this movie looking to be actually scared, but as a gothic romp it's surprisingly effective.

Turns out to be one of the most original and imaginative children's films in a long time.

It's technically a well-made film: Chandrasekhar, who directed, gives it the look of a studio feature on a sizably smaller budget. It's just the script that betrays its cast.

Film falls into the same trap as the book: a moderately interesting setup ultimately undone by an ending that makes the audience feel like fools for investing any sympathy with the characters.

Fortunately for the brothers, when your protagonist is personified as Jack Black, you can get away with a lot.

The best way to watch it is with a loaded bong, the volume turned down and the Orb cranked up on your stereo.

When it comes to World War II movies, you may never have seen one like this before -- if only because it's like three different movies at the same time.

Doesn't hit a home run on every action sequence -- an early bit set in Colombia is too long and too disjointed -- but there are one or two bits in the movie's latter third that are guaranteed to hook action fans.

The movie at times feels like an eternal cycle of the nine-minute ride, which loses its luster after 123 of those minutes. It offers you this chilling challenge—find a way out! Better yet, refrain from being the mortal foolish enough to enter in the first place.

Best of all, in this movie about high school boys, the high school boys sound and look quite authentic (Paul Dano and Chris Marquette are outstanding in this regard), not watered down as would be the norm.

It's composed of really long scenes that are mostly dialogue, with transition action imagined or implied only. Couldn't we go outside for at least one scene?

That there's moral ambiguity to his actions represents some sort of step up from the cinematic norm. Alas, Christopher Walken has very little to do as Creasy's best buddy.

At least the jump scares are effective, especially in IMAX theaters where the headrests rumble every time Valak makes a sudden move. That, and a couple of decent makeup tricks are pretty much all The Nun II has. The character deserves better, and so do you really.

Unlike some other soccer movies, there's no fancy editing -- excitement is generated strictly by the actual choreography and the commentary of an English announcer.

When the movie works, it gleefully skewers the clichés of the buddy cop genre... When it doesn't work, it's exactly what it purports to be lampooning--a lame, boring cop buddy movie.