Peter Hartlaub

Most audience members will probably want more.

A movie for people who value heart and earnestness over technical filmmaking skill, and consider unpredictable plot turns a betrayal.

May be a good tactical move for the artist's career, but it's a bad movie.

While it's filled with quality actors, this James Bond tale for tweens feels like something you should be getting for free on television.

The picture eventually collapses under the weight of its own gimmickry, but it's still an entertaining distraction for cerebral horror fans who want an appetizer before the B-horror feast that is "Diary of the Dead."

Robots never stays in the same gear for long, and the abrupt shifts in tone kill the movie's chances of becoming a classic.

Feels like a streamlined improvement on the original.

A love story that gets the single male culture down so honestly and unapologetically that it can't help but push the boundaries of political correctness.

Despite the fact that the movie covers some new cinematic territory, much of the humor feels recycled, mostly from the "Seinfeld" episodes "The Boyfriend" (the one where Jerry has a man crush on Keith Hernandez) and "The Outing."

An ill-advised and severely wussified remake.

Most of the time, the movie is appropriately gritty and plenty engaging.

It's a pleasant and well-intentioned end of summer diversion that doesn't possess the imagination-stoking qualities of a premier children's movie.

Produced by "Lost" and "Alias" mastermind J.J. Abrams, Cloverfield has been one of the more interesting experiments in large-scale guerrilla filmmaking.

The result is an incredibly disorganized movie with a few funny scenes -- most of which are revealed in the commercials.

Definitely worth your time, if not your $9.50. In other words, wait a few months and definitely check it out as a rental.

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

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.

The movie is too lethargic for its own good, and many of the events and minor characters don't quite ring true.

Much of the action onscreen doesn't ring true. Seasoned independent film director Henry Jaglom doesn't just explore the subject - he smothers the audience with it.

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.

Ponderous, repetitive and lacking a single rousing action sequence.

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

It's a kids' movie from a better time, with a few small concessions to modern audiences.

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.

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.