The movie begins to seem a little overloaded and gimmicky once characters from children's classics begin turning up (including Toto from The Wizard of Oz), but it's handsomely mounted.

The film is made up chiefly of found footage and therefore lacks the mise en scene of its predecessors, but it has the added benefit of Davies's voice-over narration, which, thanks to his training and experience as an actor, is enormously powerful.

Of some interest for promoting rapprochement between India and China, this is still awfully silly.

A bright, funny family movie that gets everything right, from story to production design to cast (both human and canine).

Engrossing biopic, throbbing with style and attitude.

To call this Kevin James comedy fatuous might be misinterpreted as an attack on the star's girth--so how about inane, tepid, lazy, puerile, phony, and unfunny?

With artifice as layered as the tiers of a marzipan cake, this resembles nothing so much as a stale Rock Hudson-Doris Day comedy.

Based on the novel by T.D. Jakes, this is a queasy mix of comedy, melodrama, and self-help spirituality; it's meant to be uplifting, but its profamily message is undercut by its virulently misogynistic treatment of the realtor and her mother (Jenifer Lewis), both too shrewish and controlling to be believed.

In its voluble mix of accident trauma and infidelity, this 2007 Danish feature by Ole Bornedal is highly reminiscent of Susanne Bier's superb "Open Hearts."

You know you're in for a hard-core art film when you hear more people raving about its opening shot than the movie itself.

Zwick, intent on correcting the perception of Jews as passive victims, lets the action set pieces overwhelm the more intimate scenes, several of which are already diminished by stilted dialogue.

Fully exploits the drama, with scenes, dialogue, and even key visuals pulled from the text.

A gravely beautiful drama about the mysteries of aging and death.

In this uneven Disney comedy Adam Sandler tones down his arrested-development persona, trading crass humor for warm fuzzies.

Lately, most of Dustin Hoffman's roles have been grinning crackpots or talking animals, so accepting the 71-year-old actor as a romantic lead who could fetch the likes of Emma Thompson requires some suspension of disbelief.

The end, a drawn-out death scene, is manipulative and, contrary to the movie's feel-good marketing, likely to upset youngsters.

As a suspense movie, this works pretty well: director Bryan Singer (X-Men, The Usual Suspects) maintains a crisp pace as the plotters set out to kill the fuhrer with a briefcase bomb, and the historical details of the botched coup, which exploited one of Hitler's own contingency plans to mobilize the army reserves and disarm the SS, are inherently interesting.

Animation may be the ideal medium for replicating dreams, and in this unsettling feature by Ari Folman it also proves well suited to autobiography.

Given the movie's slow, careful development, I was hardly prepared for the cold-sweat suspense of the last half hour.

Engrossing and timely, this crackles with ideas about art, politics, religion, and the terrible costs of war.

Many of the charms of Kate DiCamillo's best-selling children's book are lost in this British animation by Dreamworks alumni Sam Fell (Flushed Away) and Rob Stevenhagen.

It's nice to see a high-concept comedy with such a generous concept.

Most impressive, Cantet tracks the racial and ethnic resentments that simmer beneath the classroom discussions but become harder to quell when the parents get involved.

This Belgian comedy suffers from the fact that its mismatched lovers are so consistently unpleasant; it catches fire only in the scenes between the mother and the daughter.

Contrived hunk of feel-good.

He looks like a truck ran over him, but at 52 he's still ripped enough to get away with the role; in the end the movie is about Rourke's indomitability more than the character's.

Vigalondo explores it (time travel) just enough to keep this thriller moving, and Karra Elejalde is entirely convincing as the unwilling time traveler, who finds himself threatened by not only his past self but his future one as well.

The opening stretch, when the visitor arrives on earth and blithely dresses down mankind, is great fun. But screenwriter David Scarpi has drained away much of the sentiment.