Like the story, Kline builds in intensity: He has no flowery speeches that would be untrue to his character, but he leaves a clear impression of a man who values knowledge and the imparting of it above all else.

“Blood” may carry us into the past, but the unhappy effects linger today, like pollution darkening a sky that never turned completely blue.

Worthwhile IMAX look at the ways nations cooperated to build Space Station Destiny, and what they hope to achieve.

The casting of Daniels, Tyson and Saint, all of whom underplay effortlessly, was shrewd.

Defies logic, the laws of physics and almost anyone's willingness to believe in it. But darned if it doesn't also keep us riveted to our seats.

Like virtually all fish stories, it's discursive, funny, full of boasting, a suspect mix of truth and lies with an emphasis on the latter.

Lawrence plus latex equals laughs.

It takes place on both sides of the U.S./Mexico border, and it offers an undeniable argument that life without love is unpalatable on either side.

For all the silliness, Kaufman is posing a serious question: Are we better off forgetting things that brought us pain, especially if we didn't change or grow as a result? You may not agree with his conclusion, but who else in Hollywood would pose this query at all, or explore it in such a daffy, gratifyingly inventive way?

I can’t think of a single situation where Kelly Fremon Craig, who makes her feature debut as a writer-director, takes us to a place we haven’t often been. Yet she lays out her heroine’s dilemmas with good humor and understanding.

Eisele and Washington lacked faith in their material. So they've made the big debate opponent not USC but Harvard, a more clear-cut epitome of the white world of privilege that has to face the hard truths of racial equality.

Despite juggled storytelling, the movie's compelling.

Slight, enjoyable comedy.

The most radical thing about the movie, the thing that may make it most appealing to modern audiences, is that the filmmakers say both sides are right.

You'll respect him more as an actor if you see this film – and you should, even if you haven't enjoyed the action movies he's made over two decades.

To enjoy it, you have to make a leap of faith wide enough to sail over a Grand Canyon of disbelief.

Grant handles the slapstick humor gracefully and speaks his lines with sincerity and warmth.

The actors do well, with Brosnan playing a kind of James Bond who has fallen into seediness and shady dealings. Bell carries her weight in the emotional scenes and the battles, and Wilson proves (as he occasionally has) that he can do more than be a laid-back comic foil.

Formulaic, yes. Settled with as many reconciliations and promises of happiness as “A Christmas Carol,” absolutely. But a familiar pleasure, nonetheless.

Edward Norton's a more evocative actor than Eric Bana, and he supplies all the emotions required by Leterrier and writer Zak Penn.

The film’s fast, amusing, good-looking and not overlong, which is all sensible non-geeks ask of such movies.

Has its own peculiar, loose-knit kind of charm.

Overlong, entertaining, sense-assaulting drama.

Vaughn delivers every line with his usual deadpan glibness, which suits the part. But I smiled as I watched the big-bellied, multi-chinned actor connecting with the porcelain, model-thin Witherspoon.

Heartfelt, if rather repetitive, documentary.

Remains gripping until the final 15 minutes, when a series of sudden, unjustified plot twists leave us shaking our heads.

State-of-the-art.

Lee pulled me into this coming-of-age story as if it were mine; there's a universal quality to his nostalgia that might satisfy anybody, whether you grew up hearing Beethoven or "Boogie Oogie Oogie."