At long last, the Dead series may be ready for that final bullet between the eyes.

Not terribly funny, but the intimations of an older, saltier America in the picaresque plot make this watchable.

This 1944 Hepburn-Tracy pairing is so undistinguished that it's nearly dropped out of the history books.

An exceptionally feeble entry whose ideas, visual and otherwise, consist of hand-me-downs from 2001, Star Wars, Blade Runner, and Superman III, and whose special effects, despite the hefty budget, look strictly bargain basement.

Tends toward the generic, and Jim Caviezel is hopelessly bland in the lead. Among the bright spots are Mary McCormack as the hero's wife and Bruce Dern as the wise old motorboat guru.

As his wisecracking roomie, Smith keeps this contrived chick flick afloat, managing to steer past the kind of egregious product placement that would have capsized a less agile performer.

For a filmmaker like Julie Taymor, Shakespeare's language isn't nearly as enticing as Prospero's violent manipulation of the elements, and this screen adaptation of the play-like her egregious Beatles movie "Across the Universe" (2007)-is primarily an exercise in eccentric (and, I would argue, empty) spectacle.

This new version is an almost scene-for-scene remake, which is good news in the first half and bad news in the torpid second.

Mild gross-out comedy integrates a non sequitur -- a running joke made by a sidekick -- into the plot, providing some payoff.

A seemingly mad dog periodically turns into a well-trained pet.

Combines absurd male fantasy and grating chick-flick cliche.

The premise of this neither dark nor funny movie--which wants to be both--is that it's somehow ironic when wealthy characters are motivated by greed.

Interminable...Writer-director Richard Lowenstein seems as bored with the proceedings as most spectators are likely to be; consequently there's probably more gratuitous camera movement per square inch here than in any other film of 1986.

The mechanical possibilities are worked out with precision and relish, but [the director] is careful not to allow the comedy to linger too long in the realm of real feelings. A platitudinous ending restores a safe and sane emotional order.”

For a movie that consists almost entirely of real sex and real rock 'n' roll, 9 Songs feels remarkably conventional.

Most of the time it plays like the movie adaptation of a Land's End catalogue, making monogamy seem essential by associating it with high-end interior design.

Samberg can't carry this, though director Akiva Schaffer supplies some hilarious, "Jackass"-style wipeouts and there are nice supporting turns from Isla Fisher (Wedding Crashers) as Rod's love interest and Bill Hader as one of his goofball friends.

"Sorry, viewers" is more like it.

For a kids' picture this is relatively funny.

The passionate and carnivalesque sense of politics reminded me at times of "Dog Day Afternoon," but despite the absence of cynicism this is a 90s story in every sense of the word

The simple premise of one scene of table-turning voyeurism is brilliant.

A narrative that tries to juggle thriller elements, tons of pop culture imagery, and way too much philosophical baggage.

The film's hatred of Ricci and Channing and its affectionate tolerance of the hero's mousy hypocrisy and his mentor's negativity are familiar Allen motifs, but the faint echoes of his best work only make this one seem grimmer.

The full-length feature film uses groundbreaking digital 3D techniques to provide an unprecedented all-access pass to the X Games.

Tyler Perry grounds this sequel to "Why Did I Get Married?" (2007) in his trademark blend of comedy, soap opera, and down-home southern sentiment, though he lets up a little on the moral proselytizing, which aids the digestion considerably.

If you haven't lived until you've heard Geena Davis say "Suck my dick," New Line probably deserves your money.

Medicine Man is a sympathetic project that gets done in by an excessively aggressive screenplay - one that keeps manufacturing artificial conflicts and false climaxes where some more relaxed character work would have gracefully done the trick. [07 Feb 1992, p.3]

Engrossing if standard-issue prison drama.