Pete Vonder Haar

Star Trek is pretty damn enjoyable. By resetting the franchise to what is essentially Year One, Abrams has the luxury of...gently reshaping the core characters.

A perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.

The whole thing feels like a continuation of Lucas' experiments to see how much sh-- his dwindling supporters will take before finally saying "enough" and moving on to adult pursuits.

Plays like a 108 minute episode of Hawaii 5-0, minus the exotic locale.

What sets Bier's film apart from similar fare are the consistently fine performances and powerful scenes of surprising ferocity.

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

Scoop is about 50 minutes of plot padded with 40 minutes of Woody being Woody.

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.

Q: When is a vampire not a vampire? A: When it goes out in daylight, sees itself in a mirror, doesn’t drink human blood, and still manages to suck.

The question isn't whether Nispel's remake is better than the 1980 original (it isn't) but whether anything original is brought into the mix. And minus a mild plot twist you"ll probably see coming from the first five minutes, there isn't.

If What Happens in Vegas... serves any purpose, it's to make me consider spending my gambling money in Reno or on a riverboat instead.

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

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.

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

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.

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

Far from being a mere polemic, The Ground Truth is bolstered immeasurably by Foulkrod’s almost exclusive use of interviews with actual veterans.

Reviewing it is a wholly meaningless exercise, but I do it against my better judgment that anyone even seeks a second opinion before plopping down their hard-earned money for garbage like this.

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.

What you won’t be able to ignore is the ridiculous way Vantage Point’s brings everything to an end.

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

You won’t want to sit through.