Tom Keogh

Rob Schneider's stab at an "Ace Ventura"-like gamble for stardom.

This is still Ron Shelton in good -- not great, but good -- form here, and the rewards are plentiful.

The collapse of Office Space's second half is so egregious that one can't help but suspect Judge's Achilles heel may be his writing. It's not that he can't write -- it's just that his ideas tend to shine better within a pool of fellow scribes, as proven in his television career.

As he did in "Run Lola Run," he has clearly patented an original combination of cinematic eye and ear candy and a profound, irresistible fascination for the role of chance in this world.

A number of Kelly’s scenes play out like stand-alone sketches — some quite funny; not all of them essential — rather than parts of a whole. But that’s easily forgiven considering the candor of his insights and his strong cast.

It certainly has a place among the year's more accomplished productions.

An unusually clear, compassionate, and grownup satire about a rare subject: the true psychological underpinnings of young manhood.

Over the course of two-and-a-half hours, the film not only gets up on wobbly legs but learns to dance by the closing credits.

This much-anticipated but terribly underwhelming black comedy represents a seriously squandered opportunity.

Not a waste of time, but not quite in control of its destination.

Anime enthusiasts will enjoy The Boy and the Beast, but so will anyone who appreciates a good fantasy yarn.

If you don't ponder too much the script's muddled, self-serving influences, Arlington Road succeeds at discomforting a viewer and making one apt to look over one's shoulder for a day or two.

An accessible but savvy political satire.

Chalk this film up as an unusually intelligent thriller about that which scares us the most: accepting our accidents of fate.

The script by Liu Zhenyun becomes ponderous and redundant, kept on oxygen by its lead actress’s complex performance as a child-woman with enigmatic wisdom.

Director Gary Winick ("Sweet Nothing") ingeniously complements Draper's layered approach by modulating the film's energy in fascinating ways.

Lots of movies deal with friends and lovers of a certain age growing apart. But few can hear, as Thraves does, the sound of death chains rattling in the background.

Abittersweet fable about the raw joys of human revival.

All fleeting charm where it could have been one of the most memorable films of the decade.

Co-writer and director Lars Kraume brings muted colors and a claustrophobic, urgent energy to the procedural part of this story, while reminding us that not every moral hero looks like Captain America — in fact, like Bauer, they can be a rumpled, misanthropic mess.

If you like a little action with your war movies, or maybe some butt-kicking Resistance types and a Mission: Impossible-like finale, you won't be disappointed.

Simply a case of severe overreaching and the illusion that an overstuffed movie is an epic movie.

The basics of Draper’s story hold promise, but the film derails because Jack and Oliver just aren’t charming as social pariahs.

The best material gives the excellent Scott and Kroll plenty of love-hate energy: Robbie’s condescension, Bill’s passive-aggressiveness. It will look all too familiar to anyone who isn’t an only child.

Once at sea, The Perfect Storm collapses in a heap of spectacle and a dubious piling-on of scary incidents.

The film's very premise, while initially promising, doesn't hold up to lengthy scrutiny.

The film is simplicity itself.

As feverish and dark as this first feature by filmmaker Can Evrenol gets, there is a sense that something larger is at stake — an elusive explanation having to do with a recurring dream, twisted destiny and the bond of a promise.