Pete Vonder Haar

Too much of the time, Jackson is a complete blank, like he's bored with his own story.

Right out of the gate, we realize that bringing the series to the big screen makes the flaws that much more obvious. The voices are too thin, the music and lyrics too simplistic, and the production values are – frankly – too "televisual."

A sweetly engaging effort that manages a fair amount of charm and innocence in spite of the rather seedy surroundings.

Kirk and Mol are convincing, easily inhabiting their respective roles.

Two things come to mind as you watch the first act of Street Kings, the first is how fresh and exciting the movie would’ve been if it was released in 1984, the second is the question, “James Ellroy wrote that?”

Director Juan Carlos Fresnadillo, who was essentially handpicked by now-executive producer Danny Boyle, gives us a more depressing look at humanity while retaining several of his predecessor’s moves. This isn’t always a good thing, since Fresnadillo can’t seem to get his fill of low-light hyper-edited fight scenes or frenetic hand-held shots of people running, but when used right it adds to the sense of claustrophobia and impending doom.

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

Not only did those so-called "demons" take the form of animals, but they actually talked!

Sellers' comic mastery is completely fumbled by Martin and director Shawn Levy.

Fred Claus is belligerently unfunny.

The "star-studded" cast seems to have been cast according to their Premiere power ranking and/or desperation for exposure.

Absent the actual music, Notorious would be a lot worse.

The direction is lackluster, the child actors – with the exception of Eisenberg – are pretty dismal, and the whole thing is about 15 minutes too long.

The results are by turns fascinating, horrifying, and maddening.

A curious little film. On the surface, it's a story about one man's mission to create an Orthodox monastery in Denmark, and along the way it manages to say something about everyone's desire to be remembered after they pass away.

A straight-ahead exercise in brutality.

The film is depressingly wholesome. In that respect, it accomplishes what it sets out to do, which is to distract the children of America from the horror of their eventual futures for a couple more hours.

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.

I can't deny it: I had a shit-eating grin on my face for most of the ensuing two hours. I also can't deny that many of the criticisms about to be leveled at Spielberg and Lucas over "Kingdom of the Crystal Skull" are well-deserved, but it's still good to see Indiana Jones, and Marion, back in action one last time.

1. It has the potential to supplant "The Rocky Horror Picture Show" as the greatest audience participation movie of all time. 2. It is, simultaneously, one of the worst and best movies I’ve ever seen.

Unfortunately, Black Sheep takes so long to get going and misses so many easy opportunities for classic comedy it has to be regarded as a noble failure.

Noonan's life is one few of us can comprehend, and Mac Intyre's documentary, A Very British Gangster, is like a Guy Ritchie film come to life, only with a better dressed cast.

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.

What ultimately keeps The Weather Man from being a better film than it is that it doesn't no when to quit.

While The Break-Up fancies itself the heir apparent to other vindictive failed relationship movies like "Modern Romance" and "War of the Roses," its lead actors lack the comparable appeal to hold our interest

Won't make anybody’s "best of" lists a year from now, but it's nowhere near as offensive as some other examples of this moldy genre.

Edward and Carter are like the original Odd Couple, except nobody’s laughing.

Monotonous. For while it offers a few precious laughs, Talladega Nights simply apes the look and feel of most recent Ferrell movies.