Pete Vonder Haar

Let's be honest; a great deal of the sh-- you find funny when you're high really isn't (as anyone who's smoked a few bowls and laughed like a hyena to "Assy McGee" can attest). So hopefully nobody will be too disappointed when I tell them that "Express" is largely hit and miss.

A handful of nifty battle scenes and some decent performances aren't quite enough to make Kingdom memorable.

How much you join in will depend on how big a fan you are of the collegiate comedy formula, how many times you've seen "Animal House" and "Caddyshack," and how much you hate Long in those smarmy Mac commercials.

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

Intermittently amusing.

Your enjoyment of Alpha Dog may very well depend on how put off you are by these facts, as well as how much you buy Timberlake in his role, and how in the mood you are to sit through "River’s Edge" set in the "Entourage" universe.

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."

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

The action IS pretty engaging, Sao Feng and his gang of South Asian cutthroats are a nice addition, and the constant plot explication does require you to pay attention.

It's a simple and sweet-natured movie, and one that seems appropriate even for the very young.

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.

The movie's front-loaded with puerile, junior high humor (and, admittedly, several laugh out loud moments), which is fine, but all this still followed by an increasingly awkward and clichéd third act.

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

While his story is moving, Godspeed would perhaps have been more powerful if Barry spent more time balancing Jones's relative good fortune with the monumental hurdles faced by the less fortunate with similar injuries, instead of touching upon the issue in the film's final minutes.

Seriously, that kid is creepy as hell.

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

Sommers's script relies on rapid-fire banter between Odd, girlfriend Stormy Llewellyn (Addison Timlin) — yes, that's her real name — and Chief Porter (Dafoe), but occasionally feels forced.

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.

In the plus column, Poseidon is a tightly-paced action movie that doesn’t depend too much on special effects for its thrills.

Dumb, loud, and ludicrous in the extreme, and I actually enjoyed it.

It's a reasonably entertaining actioner, and Zwick doesn't shy away from depicting violence or the horrors of war, but as a social statement it falls a little short. And emeralds are prettier anyway.

Home Sweet Hell is a pleasantly unpleasant dark comedy, one that gives new meaning to "detached and subdivided" in the mass production zone.

In the end, nothing about The Interpreter strikes us as very original.

As an official history, Spark shines adequate light; I just wish it had spent a little more time on the shadows.

Standoff holds up as a welcome alternative to its more strident brethren.

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

Could have been both a gripping courtroom drama and a chilling "is she or isn’t she?" horror tale. What we have instead is a movie that drifts, almost unmanned, from plot point to plot point.

Stop-Loss is a bit uneven. Mixed messages abound.