Pete Vonder Haar

Actually one of the better comedies I've seen this year speaks volumes for the quality of the performances and the caliber of the script.

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

Let’s not lose sight of what's really been accomplished here. Alex and Marty – just like Batman and Robin, Fred and Barney, and Snagglepuss – are welcome additions to the gay animation pantheon.

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

Depending on your expectations for Transformers, rear-ending theaters this July 4th, you’ll either be ecstatic or horrified to learn that the movie hits on all three cylinders in convincing fashion.

The festival's audience is as integral a part of the proceedings as the music, and we get a rich portrait of the wide variety of pranksters, iconoclasts, and freaks that descend upon the West Country of England in the hundreds of thousands every year. Glastonbury offers an exhaustive look at what remains the largest event of its kind.

As it is, Flightplan is half of a pretty good movie. But to maintain that impression, I recommend you take a nap for the last 40 minutes.

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

A film about a family billed as "bizarrely dysfunctional" – is a pleasant enough experience. However, it probably could have used a little more of the bizarre or dysfunctional to spice things up.

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

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.

Shot Caller is Coster-Waldau’s show, and he’s up to the task.

We Are Wizards is a nifty look at a few small but significant slices of Potter mania that evokes interest rather than provoking disdain, not always an easy feat.

The plot is paper-thin, and the set-up is beyond contrived (a plant waterer?), but there are a surprising number of laughs, and the saccharine content is kept to a minimum. A mostly enjoyable experience, all told.

The Wicker Man isn't all that bad a movie; it's visually striking and ambitious in some ways. It just fails to bring enough to the table to fully distance itself from the original.

I think this one of the first King movies to legitimately give me the creeps.

Kinkle shows a deft hand at pacing and the gore is kept to a minimum.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

Jarhead does feature stunning visuals. Mendes and cinematographer Roger Deakins have created some fantastic imagery.

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.

First-time director James Gartner has managed to whittle away whatever was compelling about the 1966 Miners championship run.

Depressingly inert.

Should have billed itself as a fairy tale, as that’s the only possible way to swallow what Prince-Bythewood and Kidd are feeding us.

Ultimately a story about the American mindset post-9/11, Right at Your Door is also a much more personal tale, as it forces all of us to consider what we would do if the chips were down.

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."

It's a bit of a shaky first screenwriting effort for Coupland, but not without its charms.

“Syriana's” dumber, louder cousin.

Honestly, this movie would've worked a lot better had the Red Sox not won the World Series.