Some movies need a suspension of disbelief. Simone requires a suspension bridge. And as fast as you try to build it, the movie keeps tearing it down.

Long, utterly predictable and always bland.

Demolition is a rarity: A film with a profound emotional truth at its heart that lies to us, scene by scene, from start to finish.

It's made with seriousness, intelligence and craft, and filmgoers who aren't put off by the slow pace of life in 1380 should see it.

A movie's in trouble when neither the hero nor the villain has charisma, and Clu is a dull dog.

Though the writing doesn't work, you have to give Burns credit for shrewd direction. He gets the best performances I've seen from Graham and Murphy.

Offers high-speed helicopter chases, fireballing explosions, deadly laser guns, futuristic technology gone amok, multiple car crashes, two Arnold Schwarzeneggers for the price of one - almost everything except a plot that makes sense.

The movie gives away its shifty-eyed villain almost immediately. What it doesn't give away is why he betrayed his trust, who wants the president dead or what they hope to gain by killing him.

The cast is drab and lifeless, the characterization non-existent, the ending simply impossible. Between our jumps of fright come lumps of time that take forever to pass.

Granted, it's great action. Terrific special effects. Pulse-pounding pacing. But it's a case of diminishing returns. Salvation so keeps its characters at arm's length that after a while it really doesn't matter what happens to them.

One of the rare action films that needed to be longer. Then changes in mood wouldn't be so abrupt, and director Peter Berg and writers Vincent Ngo and Vince Gilligan would've had more time to reveal things we want to know.

Four Brothers immediately joins the Good Idea, Bad Execution club. Hardly anyone seems to care about its believability - not director John Singleton, writers David Elliott and Paul Lovett or some lackadaisical actors.

A pretty good movie. It just isn't a very good "Sleuth," exactly.

The opposite of memorable.

MacDowell gives an uneven performance, as she often does, but Strathairn is ideally cast as the conflicted husband.

Attaching Chris Rock to I Think I Love My Wife is like chaining a Kentucky Derby winner to the merry-go-round in a petting zoo. His humor is hobbled, his personality dulled, his energy depleted. Who's responsible for this lapse in judgment? Chris Rock.

On the positive side, the four Worm Guys haven't lost their squiggly charm, and Rip Torn is always welcome as MIB mastermind Zed. On the minus side, you get two Johnny Knoxvilles, one of them a tiny head that protrudes from the big one's shoulder.

Represents everything that over-budgeted Hollywood can possibly get wrong in a period piece: It feels both long and slow, it's unfocused and self-contradictory, its generic characters are played too broadly, it's anachronistic..

A safe same-sex movie the family can embrace. At heart, it's a Britcom: a British situation comedy with superficial characters, mildly naughty humor and a familiarity that may make even homophobes comfy.

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

Few actors can match Carrey's ability to change his features and body language.

It seems perverse to say a musical is at its best when nobody is singing, but Nine is a perverse kind of musical.

The lack of attacks lets us concentrate on emotions rather than explosions.

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.

Salva's view of the universe is bleak, but he communicates it with scary sincerity.

When Allen revives his plodding "Manhattan Murder Mystery" as the even duller Scoop, I snore.

Visually compelling, relentlessly loud and so shallow you need just a fragment of your brain to follow it.

Hawn always appears to be acting with a vengeance, but Sarandon just breathes her part.