While the film ably thrusts longtime fans of Mignola’s highly stylized artwork and newcomers alike into the world of that ol' debbil Hellboy, the film suffers from both scattershot character development and a serious case of H.P. Lovecraft overdose.

A good bet for family viewing. It's got a charming, simple plot, a smart Alan Menken score, and enough subversive humor to wring a chuckle or two out of Mom and Dad.

The trouble with retooling fairy tales to jibe with our more enlightened times is that too often the fun gets stripped along with the offensive parts.

Retains and updates the basic plot points while losing much of the original's heart and soul.

Proof that movies don’t always have to be busy to entertain and enrich, this tale of life at a bucolic Korean monastery is at once profound and simple.

Hoge's film raises more questions than it answers – that's his point, I think, to get us thinking – and Gosling, who previously played the conflicted Jewish Nazi skinhead in "The Believer," inhabits the role of Leland so fully it's as if the character had killed him as well.

As we are informed in the film’s prologue, "Cats live in loneliness, then die like falling rain." Sh--, man, whatever. This is so stupid it’s positively genius.

If Affleck stumbles, Smith's script does nothing to catch his fall. Surprisingly, Smith's truest talent – that of writing – is Jersey Girl's weakest link.

The Coen brothers’ newest is an odd amalgam of tics and stutters that plays like something of a greatest-hits reel but never seems to jell into a real comedy.

Von Trier’s vision is amazingly thorough and exquisitely executed, but the audience may feel executed as well.

If Never Die Alone had even a smidgeon of comic relief (or even, say, a bunch of zombies) to offset some of its relentlessly downbeat brutality, it might have been at best tolerable. But it doesn't, and it's not.

"Always be good to rock and roll and it will always be good to you," the film quotes Phil Spector as saying, and a more fitting explanation of the Bingenheimer mystique you'll likely never find.

Henderson's warm and toasty little gem of a film, slight though it may be, reminds you that the Greatest Generation, full of vim, vigor, and – most important – an indefatigable sense of purpose, grew up on both sides of the Big Pond.

This is not a family movie; the kids will be bored by it. This is a guilty pleasure for thirtysomething stoners with ironic dispositions and large nacho platters.

A delightful little wormhole that takes us on a journey to another dimension of consciousness.

A twist ending in search of its movie.

Snyder’s film isn't likely to be considered a classic 20 years down the road like Romero's film is, but it's a winningly extreme episode in the ongoing adventures of Zombie and Harriet. (And stick around while the end credits roll: The film isn't over 'til it's over.)

Suffers from Frey’s diluted multitasking. The director, writer, and star are not equally talented.

In manipulating its many disparate characters to bump into each other and set plot lines in motion, Intermission walks a fine line between clever and contrived, with the scale tipping more often toward contrived.

This portrait of 1940 France on the verge of capitulating to the Vichy regime is intriguing. However, what keeps the movie engaging is its nutty tone.

Lemarquis, as Noi, has a stoic and silent tenderness to him, and Hansdottir's Iris is the picture of pensive sluggishness. But then all that cold, cold snow slows you down, both inside and out, until the only thing moving is your heart.

Everything about Agent Cody Banks 2 reeks of hurry-up and make this movie before its kid star Frankie Munoz loses his pubescent looks (it’s already borderline).

The film itself is an effective enough metaphor for out-of-control bullshit that frankly, Koepp aside, was part and parcel of King’s novella from page 1.

A political thriller with topical currency, Spartan delivers the goods.

It's not until the film is over that we fully appreciate the originality of an Israeli film that focuses completely on the family crisis while leaving politics behind altogether.

The film moves so subtly, in fact, and so seamlessly between wry humor and the emotional wreckage of life-or-death, that it was with some shock that I found myself weeping halfway through the film.

The highlight of this satirical remake of ABC's mid-Seventies buddy-cop anomaly is named, unsurprisingly, Will Ferrell.

Ultimately, Hidalgo won't win any movie races, but I'd definitely bet on the movie to show.