Robert Koehler

Pic's future as a cult item is a sure bet.

Though quite routine on the logistics of deep-sea exploring, pic develops a visual style as it replays the events of the sinking that some viewers may find more visually exciting and satisfying than what Cameron staged in his original mega-blockbuster.

A sign that the Sandler comedy empire is expanding and reaching new depths of pure gross-out stupidity.

Apparently needing to release some private thoughts, musings and images to the world, Anthony Hopkins takes a leap into stunning self-indulgence with his directorial debut, Slipstream.

Ochoa is such a masterful actor that he makes things fairly interesting despite the script, with Hernandez and Espindola well-cast as two young men operating by different moral compasses.

Sensitively and methodically tells the story of the first U.S. soldier killed in the 2003 Iraq invasion.

A meandering, semi-improvised tale of a terminal Gotham loser who works as Santa when he bombs as an actor.

Bruce's efforts to retrace and recover his life after his memory loss contain all the drama and uncertainty of a fine psychological drama.

Too self-serious to work as a straight-ahead whodunit and too lacking in imagination to realize its art-film aspirations.

Both extremely familiar and, despite frequent references to Stanley Kubrick and Orson Welles, cinematically and dramatically dull.

A refreshingly honest film about the life and times of Hollywood uber-power player Lew Wasserman.

Story's spurts of violence are designed to tear Seymour's world apart , but Rosenfeld's scripting and directing choices tend to lessen impact of a potentially gut-wrenching urban tale.

The effects prove extremely uneven, with sub-par touches alongside astonishing and truly unforgettable shots.

Proceeds like a stultifying history pageant rather than a movie with a pulse of its own.

Aiming to join the Jerry Bruckheimer/Michael Bay school of American movie war games, Stealth is just too dumb to make the grade.

The more Marc Fusco and co-writer Michael Garrity's script aims for cleverness, the more it unravels.

Unfortunately knows no tone between schmaltzy/gooey and slapstick/gross-out. Pic is as far from the original pic and its autobiographical memoir source as it can be while retaining the same title.

A dull afterthought and a sorry vehicle for the comic expression of Martin Lawrence.

Will greatly peeve many hardcore fans.

Amateurish, undramatic and bereft of any sense of pacing.

The tilt here toward a hyperactive, buddy-movie action-adventure with loud comic archetypes is a poor fit for a film that relies on fairy tale icons and themes.

Supposedly, Pokemon can't be killed, but Pokemon 4Ever practically assures that the pocket monster movie franchise is nearly ready to keel over.

A lineup of comic actors running on empty long before the dust settles.

A comedy that starts the date in a frisky mood but sours before it's time to kiss goodnight.

The filmmakers themselves betray a lack of knowledge about the Old World, while unfailingly repeating physical hijinks one time too many.

The proper mix is never found. Ill-conceived and expensive project that winds up looking like a bunch of talented thesps slumming it.

A sensitive if literal-minded tale that demonstrates how Tibet's national identity is of a piece with its spiritual heart.

Writer-director Matt Mulhern confidently anchors his drama-comedy about an alcoholic Atlantic City pit boss with good writing and sharp dialogue. Script never treats characters as less than human.

Wine lovers won't just sip but guzzle a lot of this down, and the same effect that sun-dappled days and sex in California had on "Sideways" operates here.

This extremely plot-thickened tale finally offers little more than the usual genre elements pushed to the kind of extremes that recall the acrid "The Way of the Gun."

Flubs nearly every opportunity to be the comedy it wanted to be.

A valiant but seriously flawed attempt to belie the notion that if you remember what you did in the '60s, you weren't there.

Standard-issue directorial approach is perfectly in keeping with a script whose natural berth is on the tube.

Never rising above routine episodic storytelling, White Oleander nonetheless retains something of its source novel's ravaged emotional surface and cool, observant manner.

Shrouded by memories of better times and better movies, Frank Gorshin and Rodney Dangerfield's final screen appearances are unfortunately in the thoroughly hapless and embarrassing comedy, Angels With Angles.

Magnificently renders a fresh view of life on planet Earth.

Glitter deserves yet another title: "A Star Is Dull." As phony a vehicle as one could possibly concoct for a wannabe movie star, pic carries Mariah Carey into a swamp of gloppy melodrama.

Gods and Generals is American history transformed into a museum movie, consistently making the flawed human characters at the heart of the Civil War into flawless figures Olympian in their statuesque remoteness.

Unable to blend artfilm with psychological thriller, writer-director Hamlet Sarkissian makes something opaque indeed out of Camera Obscura.

New pic lets the air out by divulging the startling mystery that concluded the original. Add this to problematic juggling of police procedural and group-in-distress storylines, and Lions Gate has what looks like a sequel rushed for Halloween.

It ends up a grinding, ludicrous depiction of a thuggish Bosnian's abuse of his sister.

There's no cork inside Hardball, but there's more than enough corn. Everything about the movie is geared for maximum uplifting and tear-jerking effect, and seems designed, in the end, to question the old saw that there's no crying in baseball.

An exquisite ode to a working-class hero, Cinderella Man takes the almost impossibly perfect elements of the saga of underdog boxer James J. Braddock and fills it with emotional gravitas, wrenching danger and a panoramic sense of American life during the Great Depression.

So absurdly contrived that it begs to be taken as comedy.

Preaches purely to the converted.