Marrit Ingman

It's a magnificent film – thoughtful but not distant, aesthetically and technically sophisticated but staged with restraint and delicacy.

The real problem isn't that Anacondas is bad – it's just so bland, so unremarkable, so by-the-numbers, and so instantly forgettable that bad might be a step up.

The movie doesn't quite add up beyond its performances.

The film veers toward sheer silliness at times, losing the sweetness that defines its strongest moments.

It's too bad Shafer spent his budget making a fiction feature instead of just shooting a documentary about the scene. So much of the film is melodramatic kitsch, but there's still a movie in here.

A pleasant, often beautiful, and surprisingly light-hearted film that affirms the human traits of resilience and intelligence while clearly denouncing the bellicose tendencies of nations and factions.

The story is simple and true-to-life, and the technique is naturalistic, using nonprofessional actors, photography that emphasizes the characters' environment, and deliberate narrative pacing that mimics real-time events.

The characters are mechanisms who move along the plot arc from Point A to Point B. They’re not particularly memorable individuals.

A good bet for family viewing. It's got a charming, simple plot, a smart Alan Menken score, and enough subversive humor to wring a chuckle or two out of Mom and Dad.

If the sensitive coming-of-age love story is a well-worn tradition in gay cinema, Come Undone is at the very least a superior example of it.

Never mind the fact that romantic comedies about gay African-American and Latino men aren't exactly plentiful, let alone ones this good-natured.

Less subversive and infinitely less intelligent than 1999’s Wahlberg-starrer "Three Kings," this movie does blow lots of s--- up real good and punish contemptible public figures otherwise left unaccountable for massacring African villagers.

“This is just like a video game,” observes rapper-cum-actor Ja Rule, taking aim during one of the myriad firefights that comprise this lunkheaded, vaguely dystopic actioner. Man, is it ever.

This is not a family movie; the kids will be bored by it. This is a guilty pleasure for thirtysomething stoners with ironic dispositions and large nacho platters.

The real shame in the storytelling is that the people in this film are interesting and inspiring enough to warrant a real film about them.

My cynical half hated it, despite the presence of Lane, who is so magnetic that she could prance around the countryside in the absence of plot and still be compelling somehow.

You could call this film repugnant and abrasive, and Solondz would probably agree.

It helps that J.K. Rowling’s third book in the series is full of spooky stuff that translates beautifully to screen.

Plenty thought-provoking, but it's not much of a movie and ultimately inspires curiosity rather than passion.

Deschanel, as the token oddball of the gang, runs off with the movie.

This is the kind of scrappy Seventies-throwback B-movie that fits the bill when you desperately need to see regular-seeming, occasionally inept people rise up against our corrupt criminal oppressors and cudgel them with pool cues and bits of blasted-off brick.

A twist ending in search of its movie.

Eighteen short films by an international who's-who of filmmakers make up this omnibus celebrating the joys and sorrows of love and Paris, organized by neighborhood.

While viewers who expect a conventional suspense film may be disappointed in Lantana overall, it does succeed on a smaller, more intimate scale.

A holiday film Joe Lieberman could love, unembarrassed by its wholesome, sugary pro-family message.

Jacquet's penguins are as absorbing and incredible as any man-made phantasmagoria you'll find in the multiplex this summer, and it's all real.

The script is really the heart of the problem.

It's a good bet for youth audiences (the PG-13 rating is for one instance of language) and finds plenty of thought-provoking subject matter courtside.