Pete Vonder Haar

The real problem is that Sex and the City is, except for a few laughs, mostly just irritating.

Especially to anyone with kids, the film packs some punch. Apart from that, The Pursuit of Happyness is emotionally manipulative and way too glossy to really hit home.

Diggers isn't a bad film, but the underlying premise - the longing one feels to escape from a dead-end, small town life - has been so beaten to death in the movies that no amount of accurate 70s design or subtlety in the performances can hide the fact.

Computer movies have come a long way since the good old days of monitors projecting vector graphics on hackers’ faces, but there are still some forehead slappers in Untraceable.

What starts as a somewhat charming — if prosaic — story of love in the time of gentrification inexplicably spends most of its third act mired in the finer points of apartment hunting, like a tastefully lit HGTV show.

What Flags of Our Fathers is not, however, is moving, evocative, or very unique.

It's impressive enough to look at, and the voice talent – especially Black and Hoffman - doesn't disappoint, but all the CGI wankery and high-end talent only barely allows Kung Fu Panda to rise above cliché.

Dreamgirls is a better musical than "Chicago" or "Rent," but then, that isn't really saying much.

Younger children getting in on the ground floor of fantasy will enjoy the film.

It's worth a look, even taking into consideration the lack of zombies.

The movie is engrossing and well-acted throughout (especially Khan), but ultimately leaves us less optimistic about the prospects for peace.

Isn't as dark or sinister as its source material, but it comes closer than any other filmed attempts to this point. It may only be a decent movie, but it's a pretty fine PKD adaptation.

Overall, New York Doll is an affectionate (occasionally too much so) look at Arthur Kane.

I wanted to like Superman Returns, but Singer and company are so concerned about doing justice to Superman’s past, they fail to generate much interest in what, if any, future the franchise might have.

Cash is a legend, and deserving of a more thoughtful portrayal than what we’re offered here.

Something of a letdown. Previous statements aside, I understand Warner Bros. has to set the table for "Half-Blood Prince" and "Deathly Hallows," but too much of Phoenix is filler. And with only two movies left, we better get to the main course in short order.

Land falls well short of the greatness of Romero’s previous zombie efforts.

Benjamin Button is pretty much just "Gump" with better cinematography.

Predictably ridiculous.

The Longest Yard lives or dies with its physical humor, a form of recent comedy I like to call slapstick sadism.

I can't condemn it outright, but damned if I can remember anything (aside from Izzard's performance) that would make me recommend it.

Has some nice touches. Cheadle is capable as always, and Paula Newsome kills as his acerbic receptionist.

An above average film, and features fine performances (Theron and McDormand are probably stone locks for more Oscar nominations), but be wary of the advertising pointing out the film's similarities to movies like "Erin Brockovich."

The doc affords us a look into a world rarely seen by the lumpenproletariat, though we could have done with fewer aerial/time-lapse shots and more history.

Fracture may be smarter than the majority of movies out there, but it's not half as clever as it thinks it is.

The movie's strength is in the performances. And they're enough to make Steel City worth a look.

A broad and occasionally disjointed indictment of the New York art scene and horrorcore rap that leaves no broad side of a barn untargeted.

Intermittently refreshing yet thoroughly unpleasant.