Pete Vonder Haar

Everybody Loves Somebody won’t reinvent the (third) wheel, but the knowing dialogue and convincingly human characters are a refreshing break from the norm and worthy of your attention.

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

Breach is a look at the insecurities and flaws we all carry, it just happens to be embedded in the story of the worst traitor in FBI history.

The athleticism on display shames much of Western action cinema’s quick-cut hand-to-hand editing, and the final swordfight between Qi and Japanese general Kumasawa (Shaw Brothers mainstay Yasuaki Kurata) ranks as high as any in recent memory.

If nothing else, Into the Wild is a beautiful film. Penn meticulously shot in the actual locations McCandless visited, and Eric Gautier's cinematography is breathtaking, many scenes are framed in such a way as to almost Hirsch entirely, further emphasizing how solitary his trek actually was.

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.

Burton fans and those eager for a more accurate adaptation of the novel will be happy with this new movie, while nostalgia-addled Gen X-ers and stoners of all ages will always have the original.

If Cars is indicative of the kind of movie we can expect from Pixar post-Disney merger, well, there's always Miyazaki.

The July 4th release is fitting, for Thompson was a true patriot. His longstanding association with the counterculture notwithstanding, Thompson loved this country and the things it once stood for, and his voice is sorely missed today, and whether you were a fan of his work or not, you'll find Gonzo well worth your time.

I thoroughly enjoyed the street level perspective of the world being destroyed, it just would've been nice if they hadn't crapped out at the end.

Doesn’t always hit all the right notes...But in the end, Affleck displays a surprisingly sure hand, and Gone Baby Gone largely delivers.

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

Scary Movie V murdered my capacity to feel joy.

The Ringer is astoundingly craptastic not because the handicapped are handled poorly (though if they were paid more than union scale I'd be surprised), but because it's one of the most singularly unfunny films ever made.

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.

The movie works because Christina's desire to help these kids feels natural, and because she herself shoulders burdens that would drive most people to the grave, all without losing her faith.

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.

To top everything off, Tom Cruise may just have resurrected his career with the role of Les Grossman.

Craven eschews horror trappings and gore for a well-paced and engaging thriller that keeps the audience involved despite the fact that most of what takes place onscreen is a conversation between two people.

70 odd minutes of medical tragedy and cops matching wits with criminals devolves into incongruously balletic gunplay accentuated with CGI blood effects so terrible Sam Peckinpah is doing cocaine in his grave. It’s a weirdly calamitous tonal shift, erasing the scant goodwill we’d felt to this point and putting Three down for the count once and for all.

It isn't until the ending, which turns the squirm amplifier up to 11 and exceeded even my horrific expectations, that we finally see the story's potential realized.

If What Happens in Vegas... serves any purpose, it's to make me consider spending my gambling money in Reno or on a riverboat instead.

Not just one of the best "comic book" movies ever made, but also one of the best films of the year.

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

Matti sets a brisk pace, utilizing the squalor and desperation of Manila's slums and prisons as well as powerful, against-type performances by Torre and Pascual to give us a familiar yet engaging thriller (with more than a few surprises).

So who did kill the electric car? There are many suspects, and as it turns out, most of them are guilty.