Pete Hammond

This is a beautifully crafted and special movie to cherish, one likely to stay with you long after most of the so-called summer blockbusters have faded into memory.

An entertaining fright movie that’s crazy fun and full of genuine scares.

Campanella has laced his story with twists and turns worthy of Hitchcock and the framing device of the novel (which forces the protagonist to sort out the whole thing through writing) is ingenious.

Tim Burton, plus Alice, plus 3D equals an unforgettable, one-of-a-kind movie experience. It will clean up.

Will appeal to upscale adult audiences with its mix of gorgeous Chinese locations, splendid dance sequences and compelling personal story.

Yet another movie marketed with the line “From the author of The Notebook,” The Last Song is distinguished from other Nicholas Sparks adaptations because it’s the first screenplay the best-selling novelist has written himself.

Odd but endearing, The Good Heart has just exactly that--a good heart--mixed with a simplistic story that comes recommended as a showcase for two fine actors at the top of their game.

Channing doesn't bring any new tricks to the table but with her character's tenacious and spirited nature she's fun to have around for a few brief scenes.

It's funny, clever, touching and real.

If so inclined for a breezy, violent time-waster audiences could do worse. Travolta sadly can do so much better.

In some ways the film is reminiscent of "It's A Mad Mad Mad Mad World" with the theme of greed and a gaggle of people all after a piece of the pot, but Lottery Ticket pays off on the laughs with a strong message about using sudden riches responsibly and the importance of giving back to the community.

Like "The Blind Side," this is an inspiring and compelling true story. Harrison Ford is at the top of his game in this remarkable film.

The entire cast is superb. Crowe's an ideal Robin Hood-born to play the role-he's fully in command but human to the core. He owns it.

Back for a third go-around, the Step Up franchise is still as light on story as it is on its feet, but audiences looking to get a cinematic workout from the high-stepping action served up here could do a lot worse.

The Losers not only looks like a low rent, buttoned-down version of The A-Team, but it also resembles a hybrid of other flicks like "Mission: Impossible" and "Inglourious Basterds."

Don McKay just never seems to be able to blend its noir elements into a story that makes us care one way or the other.

They’ve shed all of the Brit-centric political aspects and updated it to make a riveting, pulse-pounding suspense thriller that really does keep you on ‘edge.’

This revved-up movie version offers a perfect mix of non-stop thrills and clever dialogue, mixed with an engagingly light touch. Nobody is taking anything too seriously here, and that's the fun of it.

With the woes of Wall Street constantly in the headlines, Oliver Stone could not have picked a better time to reignite Wall Street.

Narrated by Pierce Brosnan, Oceans is simply amazing at times, a truly remarkable and extraordinary journey under the sea that takes us places we have never been before.

Easygoing effort at times feels over-baked and too full of Perry’s now-trademarked melodramatics, but nevertheless should hit squarely at the target audience of the older African-American women that can’t seem to get enough of what this director dishes out.

In terms of sheer originality, ambition and achievement, Inception is the movie of the summer, the movie of the year and the movie of our dreams.

Gordon is bit too good looking to really be the Greg Heffley the books detail, but he's not obnoxious in the role and will appeal to the target 'tween set.

Performances are generally first-rate with Hopkins exhibiting an ease and laid-back approach that serves Adam perfectly.

In a brief supporting role Meg Ryan is also fine along with Brian F. O’Byrne and Will Patton. Shannon Kane is memorable as the prostitute Gere hooks up with.

Fans of the first will not be bored. This Iron Man may not be the Godfather II of comic book movie sequels critics hope for but it is a complete blast anyway.

The script, from first time screenwriters Ian Deitchman and Kristin Rusk Robinson, takes a predictable premise and gives it surprising depth.

Strictly for 6 year olds, this uninspired, one-joke comedy is full of too many misfired gags and weak comic setups to cross over to anyone whose head reaches above the seat back.