Pete Vonder Haar

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.

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.

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.

Diggers isn't a bad film, but the underlying premise - the longing one feels to escape from a dead-end, small town life - has been so beaten to death in the movies that no amount of accurate 70s design or subtlety in the performances can hide the fact.

"The Beginning" is a better movie than the 2003 remake, even if the plot is understandably similar. There are only so many ways hapless teens can get brutally slaughtered, after all, but Liebesman and company keep things appropriately creepy, right down to aping the look of the 1974 original.

It ain't art, and it's dumber than I'd like, but I don't imagine you were expecting Kieslowski.

Formulaic and creaky as a Harrison Ford action sequence, but sufficiently gussied up with good actors and a decent director so that you don’t entirely mind.

Mostly, Guilty of Romance seems content allowing characters to verbally abuse each other before eventually reaching the inevitable conclusion that life is a burden and all love is illusory.

There’s a lot of talent up there on the screen, and some authentic laughs, but too much of it is comedy territory that was claimed long ago.

Intermittently refreshing yet thoroughly unpleasant.

Some of the footage is exceptional, yet several of the more impressive stunts are shot from so far away on digital cameras that the resulting onscreen resolution is just a shade above god-awful.

Starts off promisingly, but gets bogged down when it abandons humor for gravity.

There are glimpses of the wit McKenna displayed in “Prada,” but these brief gasps of life are quickly suffocated by the inevitable schmaltz.

Far from a disaster, but doesn't rank with Mann's best work.

There are some genuine scares to be had here, and not just of the “Boo!” variety.

Isn’t exactly dull, but it isn’t scary either.

For all the effort Giamatti gives in making George a convincing character, the movie itself, never quite gets off the ground. The feel is too deliberately peculiar, and Goldberger's detached style never gives us a reason to invest ourselves in anyone but George.

Aside from the slightly fresh take on a familiar concept, The Boss Baby is barely a moderate success as a kid's flick. Perhaps it will come as good news to studio and audience alike that it works much better as an existential horror movie.

There's no denying Banderas' talent as an actor, and he's admittedly fun to watch. The rest of the cast are serviceable, meaning Woodard finds new ways to show us how this Latin heartthrob melts her icy exterior.

A broad and occasionally disjointed indictment of the New York art scene and horrorcore rap that leaves no broad side of a barn untargeted.

What this movie needed was a leaner narrative focusing on Earl and Marshall while keeping Moore’s character in the background. What we end up with is a goofy and occasionally enjoyable mix of horror, comedy, and action that can’t entirely shed its excess narrative flab.

A better-quality sequel, but that wasn't really too difficult. The original was one of the worst movies of 2005, and while "Rise" won't win any awards, it's (mostly) less offensive than its predecessor. Faint praise, but I'll be damned if I go any further than that.

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.

I can't condemn it outright, but damned if I can remember anything (aside from Izzard's performance) that would make me recommend it.

Watchmen is indeed gorgeous, with Gibbons' original work reproduced and – in some cases – improved upon by detailed F/X, but even at a healthy two hours and 41 minutes the story feels truncated. Even abrupt.

Easily one of the most lackadaisical movies I've seen. Don't get me wrong, the plot is entertaining enough, and there are some genuine laughs, but almost everyone in the movie is half-a--ing it.