Pete Vonder Haar

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

Say what you want about Mel Gibson, but that sadomasochistic anti-Semite knows how to shoot a movie.

Is Walk Hard” funny? Sure; very much so, in places. At least I think it is. It might just be the “Date Movie” talking.

Doesn’t break any new ground – it actually steals from half a dozen other sci-fi movies – but it’ll make enough at the box office to justify further game flicks.

The movie wastes the talents of its two leads by refusing to take any risks with the material, marching in lockstep to every genre cliché.

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.

Skills Like This is not a movie that asks to be taken seriously.

The film's effectiveness is bolstered by juxtaposed scenes of fat and happy Americans and Europeans slurping up frozen chai lattes and clucking about how big Starbuck's is getting with scenes of children going into "therapeutic feeding centers" in the region where Starbuck's gets its coffee because they can't afford to by corn.

Veers between flaccid slapstick and mean-spirited vulgarity.

Clearly, Gomorrah is supposed to represent the best of today’s European cinema...and if this is the best, I would hate to imagine the worst! Gomorrah is a boring mess focusing on how the mob in today’s Naples has its tentacles stretched far and wide

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.

300 is a feast for the senses (well, two of them anyway) and an impressive technical achievement. More than that, it's a hell of a lot of fun.

For an origin story about one of the most compelling and important characters in history, The Nativity Story is pretty damn boring.

Whatever the final analysis, Reno 911!: Miami is a welcome breath of fresh air in a year that's already forced audiences to endure the likes of "Norbit."

What, a white woman can’t take an innocent drive through the ghetto without arousing suspicion? What’s this world coming to?

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.

While Howl’s Moving Castle is far from perfect, it’s still a very good movie. It’s just not a great one.

Does it herald a renaissance in the action genre? Not really, but it's a welcome throwback to good old-fashioned, '80s-style lunkhead violence, and no one takes a punch, kick, elbow, or bullet quite like John McClane.

The original “Elizabeth” was visually lush and quite engaging, but this is a sprawling mess.

Very little in Reservation Road ultimately rings true, which makes the anguished theatrics on display that much more exasperating.

Murphy doesn't have much of a handle on juggling laughs with pathos, and this makes some of the more touching scenes unintentionally amusing. The film, like Augusten's life, is uneven but not without its charms.

Dark Water isn't a bad horror movie, simply because it isn’t horror at all: a full hour passes before anything remotely scary occurs, and all the suspenseful scenes take place in the final ten minutes (and are all fully shown in the trailer). What's left is tedium and a seemingly endless build-up to nothing much at all, making it a bad movie. Period.

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.

Burton fans and those eager for a more accurate adaptation of the novel will be happy with this new movie, while nostalgia-addled Gen X-ers and stoners of all ages will always have the original.

Surprisingly good.

A bleak and powerful movie, made all the more sobering by how much of it isn't fiction.