Doesn't match the impact of its predecessor, which both revived and reimagined the zombie-film genre.

Jane Fonda does an about-face on her persona and her talent, playing a teetotaler and, what's worse, a pious bore.

As a documentary, the film is woefully underdeveloped.

The movie includes a few good one-liners, but that's really all it is -- a forum for putdowns and sassy dialogues.

Even the title is off. I haven't heard an honest "Lucky You" since I was in sixth grade. For most people it registers as a sneer.

A quiet, heartfelt story of love and loss.

The sprawling canvas ultimately dwarfs the plucky title figure and makes him seem too small in every way.

The movie is an inspired comedy-drama about artistic temperament.

A catastrophically messy action-movie mash-up.

Next may be the silliest movie of 2007.

It's not hard to imagine these characters in a straight-faced Hollywood blockbuster. And that's the source of Hot Fuzz's genius, pointing out the thin line that separates convention from farce when Hollywood starts throwing its special effects around.

A mangy-looking mongrel with a lot of familiar markings and a little more on the ball than you'd expect at first glance.

There's more than a trace of James Dean in Gosling, except that he's a rebel with a cause.

Uneven and affecting movie.

The original French title is "La Doublure," but The Valet fits Veber. He has become a one-man service industry when it comes to spreading Gallic barbed humor and good cheer.

Surprisingly moving and intellectually satisfying.

In a cinematic landscape where truly original ideas are rarer than floating food, recklessness like this deserves to be appreciated. Not understood, but appreciated.

Here's my nomination for future grindhouse double-bill from hell: Pathfinder and "Apocalypto."

Instead of heightening the intrigue in this psychological thriller, the labored twists and out-of-leftfield turns will leave audiences more weary than wary.

White throws in a dog-in-peril shot to ensure the audience's sympathies. The ploy works, perhaps too well, turning Year of the Dog less into the askew character study it wants to be than a showcase of lovable-dog shots.

The Breakfast Club meets Rear Window. The result should satisfy dating crowds from high school to night school.

What's not to love?

Thanks to Hallstrom's slaphappy artistry and a sparkling ensemble, Hoax is a hoot.

There's a funny premise at the core of Are We Done Yet? Too bad the movie doesn't do much with it.

The mystery is, how the filmmakers still managed to come up with a movie that will satisfy almost no one.

In less accomplished hands, Black Book could have been a hopeless mishmash. But Verhoeven proves a sure-handed storyteller, which might come as a surprise, as well as a terrific visual stylist, which shouldn't.

This is Ferrell's movie, and one's tolerance for it will most likely be in direct proportion to one's tolerance for its star's vanity-free fearlessness.

The way Frank structures and directs this film, it's too predictably "unpredictable."