Peter Hartlaub

While the sequel to "Night Watch" is an imperfect film, it's always interesting.

The filmmakers investigate, but can't answer every tough question. There are so many people who could be potentially taking advantage of these players, it's hard to sort out the wrongdoers.

When Danny takes off his collar for the last time, Besson's plan becomes clear: You may have paid for an hour and a half of escapist entertainment, but he just provided something much better.

Timberlake is the secret weapon, making the crankiest troll also the most appealing.

Has plenty to satisfy fans and bring in new admirers.

The biggest sin of 28 Weeks Later is that it's not in the same league as the near-perfect movie that came before it.

Like George Bailey, and the Cartwright family from “Bonanza” and other fictitious families, the real-life story of the Sungs is one of loyalty and adhering to their code, even as they face losing everything.

Rough around the edges, but once you get used to the laconic pace, the plot grooves along nicely.

Curtis makes an all-in return to the Strode character, and the filmmaking team builds a solid framework around her, in the propulsive and entertaining new Halloween.

It's an achingly beautiful movie and a triumph of location scouting, with more cosmopolitan spectacle than the past three Indiana Jones and James Bond movies combined.

This film is even better if you come in with no spoilers and low expectations.

Much of the honest dialogue has the same feel as John Hughes' and Cameron Crowe's movies during their best years, while there's a half-serious hipness that recalls the first eight episodes of "The O.C."

For a movie that takes place mostly in the bowels of a sewer, Flushed Away has some surprisingly charming moments.

Bridge to Terabithia is a good movie, but it could become truly great with a director's cut that leaves the fantastic elements a little more vague.

It's a funny, mostly harmless and entertaining film with a bad case of dry mouth.

If you can lighten up for an hour and a half, the film delivers one good laugh after another.

It wonderfully explains elements of life with autism, offering a primer for the uninitiated, while profiling a family that was rewarded for its willingness to approach an obstacle with patience and love.

If you can get past the ridiculousness of the setup - easy to do, because the posters make it clear this isn't a Woody Allen movie - it's pretty much impossible not to have fun.

Kill List has a slow build, but don't be lulled into complacency. This is one of the most violent and disturbing films you'll see in an art house.

It’s not a sin to tell a one-sided story, Hoover seems to be arguing, when there is no other side.

A thoroughly enjoyable three-or four-gimmick comedy.

Even with its thrifty set pieces and smaller ambitions, this attempt to reboot the series based on Tom Clancy characters does the most important thing right: It almost always feels like a Jack Ryan movie.

The remake of The Last House on the Left breaks the template, taking the 1972 original into an interesting new direction, with bold camera angles, good actors and a script that heaps on just as much character development as carnage.

What Dunham lacks in polish, she makes up for in her ability to observe her generation, with the hardest truths coming at her own expense.

Never very frightening, but it's clever and fun, with a memorable amount of humor and gore.

The visuals are excellent, featuring a refreshingly small dose of forced cuteness, and plenty of the animals' natural movements.

The scope of the film can be frustratingly narrow. But even this limited view into the events of the Maywand District murders is gripping cinema.

Favoring precision filmmaking over cheap thrills, with a vibe more Alfred Hitchcock than Freddy Krueger, Red Eye establishes two intelligent characters and lets audiences sit back and enjoy an entertaining battle of brains and wills.