Pete Vonder Haar

In truth, there's not much point to reviewing Adam Sandler comedies. They're almost always widely panned, and yet still manage to earn well over $100 million domestically. Don’' Mess with the Zohan looks to continue both trends, even if exaggerated Yiddish accents and sex with the elderly only take one so far.

Every so often you catch glimpses of a better movie behind the simplistic structure and formulaic plot.

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.

To paraphrase the play's most famous song: how do you measure the lien against your soul when you're forced to sit through something as forcibly maudlin as Rent? I dunno, but 525,600 minutes is about how long this movie felt at times.

Comedy, like most everything else, is subjective, and this may be the greatest example out there of "getting it" or not. If you thought the first movie, the original TV show, the Three Stooges, or "Football in the Groin," was funny, chances are “ackass: Number Two is right up your alley.

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

Almost unforgivably sentimental.

Decent vampire movies are few and far between, and I’m having a hard time remembering a recent one that impressed me like 30 Days of Night.

As comic book movies go, Iron Man is a solid entry. Downey and company help drag Favreau out of the genre holes he digs, making for a decent experience.

Fool's Gold could easily have been released in 1977, and there's a sort of laid-back, timeless, Gerald Ford feel to the movie: the resolution is never in doubt, the villains are comedic rather than menacing, and no one involved seems to care one way or the other that their names are attached to this indifferent mess.

If you're over the age of 11, there's obviously not much reason to see this.

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

For all of its shortcomings, Wanted is a strangely enjoyable flick.

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.

There are a handful of intense sequences and a few scenes of squirm-inducing gore in The Ruins, but not much else.

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

Fortunately for Redford, Lions for Lambs is a less ham-handed effort than Sayles’ “Silver City,” but it’s a near thing.

Spends too much time straddling the line between exuberant carnage and serious plotline when it should've gleefully backflipped into the former. Grudgingly recommended, but only if you've put your cerebral cortex in neutral for the evening.

One small step for bad filmmaking and one giant leap for the increasing insignificance of the former Michael Corleone.

There was a movie called “My Bodyguard” about the new kid in high school who hires the sullen loner to protect him from a bully. That was good. Drillbit Taylor is shit but, hey, I’m in Judd Apatow’s Hollywood.

It tries to toe the line between romantic comedy and vulgar pseudo-satire and fails at both.

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 film is technically superior, and its look and the strength of its performances (Blanchett, Barraza, and Kikuchi especially) carry it above similar fare.

Millions is that rarest of creatures: a family film - one of surprising warmth – that won't have adults reaching for an airsick bag.

What really grabs your attention about Undead, however, are the effects. For a movie budgeted under $1 million, the Spierigs have done an amazing job putting together believable visuals.

Baumbach crams an impressive amount of characterization and humor into 82 minutes.

It elicits so many laughs, in fact, that you have to wonder just what Judge did to piss off the suits at Fox so much that they would willingly torpedo one of the only genuinely hilarious movies to come out this year.

Eragon is laughably bad, mind-bogglingly derivative, and easily one of the worst movies of the year.