A film like this can end honestly in only one way, and Ku is true to it. Life will go on, one baffling day after another. There can be no release, only a gradual deadening.

The director, James Cameron, is a master of action (he worked with Schwarzenegger on "Terminator 2"), and when he's doing his thing, no one does it better.

Will kids like the movie? I suspect they will. Kids like to see other kids learning the rules even if they don't much want to learn them themselves.

The fact is, the reverse chronology makes Irreversible a film that structurally argues against rape and violence, while ordinary chronology would lead us down a seductive narrative path toward a shocking, exploitative payoff.

It's as slam-bang preposterous as any R-rated comedy you can name. It's just that Paul Blart and the film's other characters don't feel the need to use the f-word as the building block of every sentence.

Not a well-oiled enterprise but more of a series of laughs separated by waits for more laughs. It has a kind of earnest, eager quality, and it's so screwy you feel affection for it.

Mrs. Henderson Presents is not great cinema, and neither was the Windmill great theater, but they both put on a good show.

Basically aimed at audiences who want elaborate fight sequences and fidget at the dialogue in between. It's for the fans, not the crossover audience.

As McKay acknowledges in the introduction, Dick Cheney remains an enigma after all these years. I’m not sure Vice sheds any new light on the Cheney story. It places him in a spotlight that continually changes colors and tones but is almost never flattering.

Writer-director Defa has delivered a small and quietly compelling low-key gem filled with offbeat characters who are perfectly normal — which means they’re kind of odd.

Most horror movies are exercises in unrelieved vulgarity, occasionally interrupted by perfunctory murders. This movie, to borrow an immortal comment by Mel Brooks, "rises below vulgarity." If you are sick up to here of horror movies in general and Steven King in particular, this is the movie for you.

At times it’s funny as hell. At other times it’s pretty much a disaster. But it never commits the crime of being tedious.

Highly entertaining high camp.

When the songs work well, as a few of them do, much can be forgiven.

This is not a great movie, but it's very watchable and has some good laughs. The casting of Aniston is crucial, because she's the heroine of this story, and the way it's put together there's danger of her becoming the shuttlecock. Aniston has the presence to pull it off.

The bedrock of the plot is the dogged determination of the Bruce Willis character. Jack may be middle-aged, he may be tired, he may be balding, he may be a drunk, but if he's played by Bruce Willis you don't want to bet against him.

An entertaining, clever black comedy that takes place entirely in Tarantino-land.

Doesn't require you to know anything about the band Metallica or heavy metal music, but it supplies a lot of information about various kinds of monsters.

The movie's story actually does work as a story and not simply as a wheezy Hollywood formula. Sometimes you walk into a movie with quiet dread and walk out with quiet delight.

This is the kind of movie you'll relate to if you love film itself, rather than its surface aspects such as story and stars. It's not a movie for casual audiences, and it may not reveal all its secrets the first time through, but it announces Wong Kar-Wai, its Hong Kong-based director, as a filmmaker in the tradition of Jean-Luc Godard.

Sure, there are times when we’re aware our emotions are being manipulated — but we’re fine with that, because we want to see, and we expect to see, the heroic underdog triumph against nearly insurmountable odds.

An undemanding formula picture that's a lot of superficial fun and not much more.

Despite the elements I could have done without, the movie is often very funny, and a lot of the credit goes to Del Toro, who creates a slow-talking, lumbering character who's quite unlike his image in "Usual Suspects."

The way this unfolds is surprisingly engaging.

A mordant and bleak comedy, almost without dialogue, about Palestinians under Israeli occupation.

A funny, wickedly self-aware musical that opens by acknowledging they've outlived their shelf life.

It has greatness in moments, and is denied greatness overall only because it is such a peculiar construction; watching it is like channel-surfing between a teen romance and a dark abysm of loss and grief.

Has laughs, thrills, wit and scary monsters, and is one of those goofy movies like "Critters" that kids itself and gets away with it.