Robert K. Elder

Isn't without charm, or laughs. Director Shawn Levy's film features some of the best child actor casting since "The Little Rascals."

As it turns out, "Liberty," a likable, light-as-air road comedy, is a much better movie than its sour-pun title.

First-time director Timothy Bjorklund, who also shepherded Teacher's Pet on television, conducts some inventive, devilish sequences.

So well cast and well captured is Touching the Void that it suspends disbelief, making us feel as if we're actually watching Simpson's own icy version of Dante's "Inferno."

When a movie keeps repeating its title, you know it's a stinker.

Like all B-movies (or in this case, pseudo B-movies), "Skeleton" contains sparkling moments of promise and camp performance.

While some pedestrian camerawork and spotty acting from supporting players deflate Love Object, it has enough juice - and a surprising twist - to keep fans of the slow-burn horror genre enthralled.

Minor but irresistible MGM musical capturing '20s college life through the prism of the jivin' '40s era. [18 Jan 2008, p.C2]

It breaks director Billy Wilder's most important movie commandment: Thou Shall Not Bore. It's just not funny.

Finally, a teen sex comedy that's funnier than both its trailer and its outtakes. More important, Eurotrip -- with its laser-guided sex toys and infectious theme song, "Scotty Doesn't Know" -- just might be the best comedy so far this year.

An actor-turned-director, Stuhr appeared in many of Kieslowski's films and their partnership and friendship produced some stunning work. The Big Animal memorializes a complex man and his deceptively simple work, by a friend and colleague in a fitting tribute.

The notion that stories are the lies that tell the truth isn't new -- even Shakespeare knew that -- but the central conceit of "let's save lives by putting on a play" seems not only artificial, but also hollow.

Exceptional black dramatic comedy.

99 minutes of excruciating "reality."

Caruso, who showed flair in the Val Kilmer vehicle "The Salton Sea," has a penchant for the dark side. In this case, it's the plodding, predictable ZIP code of the dark side.

Is it a political movie? Yes. A movie with strong ideas and issues? Yes. But propaganda with its heart in the right place is still propaganda, and seldom easy to watch.

In his thoughtfully paced, well-acted film, Hoge doesn't set out to solve the "why" of Leland's ghastly crime. He's more interested in examining the reason why society needs to create and interpret a reason for horror.

The movie's computer-generated castles, magic visuals and sloppy effects echo a low-budget fantasy movie on cable. It's glossy, shiny candy that tastes oddly familiar yet lacks sugary punch.

A virtuoso piece of dark storytelling.

In a case study of how to screw up a simple, powerful revenge story, director Jonathan Hensleigh punishes audiences with an unbearably sluggish action movie that requires the word "action" to be placed in quotes.

To call this movie a dog would also be an insult to canines, so let's just say Scooby-Doo 2 is a Scooby-Don't.

Downright scary in some places, Godsend might be more potent if it wasn't watered down by religious trope predictability.

Though not a perfect comedy, it manages to be quite often laugh-out-loud funny. The film's strong cast, including scene-stealing "SNL"er Tim Meadows as the school principal, also helps smooth out most of the rough edges.

Simply photographed and well acted, The Mudge Boy captures "Deliverance"-level disturbing images as it takes an unsentimental approach to its characters.

A Foreign Affair's flaws make it even more of an enigma, as graceless as it is endearing.

There's much to love about this "Rocky" on horseback, and those laughable blemishes just fold into jokes that Helgeland likely intends audiences to laugh at.

Whatever the film lacks in presentation, it makes up for in laughs and ensemble performances that sing.

Released in theaters five years after its 1999 Sundance Film Festival premiere, Kalem's film is too precious, too self-conscious and far too enamored with itself to ever have any kind of genuine emotional truth.