Pam Grady

This could have been a slick little thriller. Instead, it evolves into the unfolding of an epic tragedy.

Predators is sometimes silly and hardly original, but it delivers the thrills.

A pathetic thriller and lame social satire that suffers from abysmal writing, poor pacing and terrible acting, even from the normally reliable Sean Bean.

This drama is something of a miracle itself: a film dealing with religion that is refreshingly free of dogma.

I'm Still Here does leave us with one big question mark: What will Phoenix do next? How will he top such a flamboyant caper?

Fails to completely satisfy, thanks to problems with the script that neither director nor stars can overcome.

Very small children may well take a shine to the big, goofy dog and his furry friends, but parents and older siblings will be left squirming in their seats at a bland, predictable blend of bad comedy and sentimentality.

Educational rather than entertaining.

A mess of a horror movie that spent several years sitting on a shelf and should have remained there living up to its fullest potential as a dust magnet.

Likely to resonate with a generation of young people to whom "When Harry Met Sally's" orgasm scene seems downright quaint.

The doc has won a host of awards at film festivals and it is a policy wonk's dream of a movie, but it is dry, statistic-laden viewing that is unlikely to attract much attention beyond education circles.

Silly and not nearly scary enough, this does not rank as grade-A Romero, but the story unfolds efficiently and economically and it provides plenty of laughs.

This story of a hit man who wants out after performing this one last job is so threadbare, trite and predictable that not the star's formidable charisma nor the considerable talent of director Anton Corbijn can come close to erasing its deficiencies.

Some points are driven home over and over again and that repetition robs the doc of a bit of its power, but overall Countdown to Zero is effective and frightening.

The filmmakers have created a wrenching piece of work that allows the viewer to draw his own conclusions-and should make anyone of whatever political persuasion think about exactly what they mean when claiming to "support the troops."

The performances are spot on and so is the film's ever growing sense of horror.

The laughs are a little uneven and director Jeff Tremaine does not always take full advantage of the 3D technology, but the movie has enough going for it to satisfy Jackass' legions of fans and make some new ones.

The exquisite art and fairytale ambience will win over animation fans and children alike.

Unlike "The Lost Boys," there are no bloodsuckers in Twelve. Instead, it just sucks time: 98 minutes to be exact that you can never get back.

Isn't very funny or much fun at all.

Like "Amelie," Micmacs is visually dazzling, the ravishing images coming courtesy of "La Vie en Rose" cinematographer, Tetsuo Nagata.

Dazzling turns by stars Eddie Marsan, Martin Compston and Gemma Arterton; unrelenting suspense; and a wealth of black humor will appeal to an arthouse crowd, though the violence and other unsavory aspects of the story will turn off some.

A talented cast is game, but the lazy script utterly fails them.

Sometimes hilarious, occasionally outrageous and terribly uneven.

This is one of those movies in which the lead character is so self-possessed, wise, well spoken and witty, that she sounds far too adult to be a teenager.

The director's biggest stroke of genius was casting Baruchel.