Twilight will mesmerize its target audience, 16-year-old girls and their grandmothers. Their mothers know all too much about boys like this.

A peculiar and intriguing film.

This is not a "horror" film or an "underground" film, but an act of transgression so extreme and uncompromised, and yet so amateurish and sloppy, that it exists in a category of one film -- this film.

Concussion is a good movie that could have been great without trying so hard to be great.

It has all the necessary girls, gimmicks, subterranean control rooms, uniformed goons and magic wristwatches it can hold, but it doesn't have the wit and it doesn't have the style of the best Bond movies.

Winstone's interaction with Gibson provides the movie with much of its interest. For the rest, it's a skillful exercise in CGI and standard-order thriller supplies.

Original, absorbing and curiously moving.

We’re just watching Jude Law, who gained some 30 pounds for this role, acting his rear end off but also spinning his wheels in a story that never amounts to more than a collection of vignettes about Dom’s life after prison.

Mommie Dearest is a painful experience that drones on endlessly, as Joan Crawford's relationship with her daughter, Christina, disintegrates from cruelty through jealousy into pathos. It is unremittingly depressing, not to any purpose of drama or entertainment, but just to depress. It left me feeling creepy.

Sleepless in Seattle and Only You and now Love Affair, all movies about nice people getting into goofy misunderstandings because they love one another so much.You have to be in the right mood to enjoy movies like this. Or maybe they put you in the mood.

Spaceman is a wonderfully weird journey that ends on just the right and quite satisfying notes.

Sam Peckinpah's The Getaway is a big, glossy, impersonal mechanical toy. It's like one of those devices for executive desks, with the stainless steel balls on the strings: It functions with great efficiency but doesn't accomplish anything.

Pacific Heights could stand comparison to "Rosemary's Baby." Both films are about a young couple who are deeply concerned by events that seem to be happening in another flat in their building. The difference between the movies is instructive: Roman Polanski insinuates us into the gradually growing horror of his couple in "Rosemary's Baby," while John Schlesinger, in "Pacific Heights," seems concerned only with generating the most obvious shock effects.

One of the problems with Mel Brooks's High Anxiety is that it picks a tricky target: It's a spoof of the work of Alfred Hitchcock, but Hitchcock's films are often funny themselves. And satire works best when its target is self-important.

Only movie lovers who have marinated their imaginations in the great B movies from RKO and Republic will recognize The Hot Spot as a superior work in an old tradition - as a manipulation of story elements as mannered and deliberate, in its way, as variations on a theme for the piano.

What sets Prefontaine aside from most sports movies is that it's not about winning the big race. It's about the life of a runner.

The movie is too flighty and uncentered, and it allows actual violence to break the spell when false alarms would have sufficed.

I’m So Excited! is random, episodic and essentially meaningless, but it’s also a hoot. And if that’s all you’re looking for, you might as well get it from the master.

While A Tale of Love and Darkness is often difficult to watch — because of all the sadness it presents — it is also a beautiful film in that it makes us think about existing in a world where we do not completely fit in.

With an almost circus-like score setting the tone, a supernatural touch and a terrific ensemble cast playing characters that range from the eccentric to the deeply eccentric, Monuments is at times grounded, at times almost hallucinogenic — and always smart and entertaining.

The result: No other studio could produce historical treasure like this from its vaults.

That looking-glass quality is missing, alas, from Back to the Future Part III, which makes a few bows in the direction of time-travel complexities, and then settles down to be a routine Western comedy.

It's not the idea that people will kill each other for entertainment that makes Series 7 jolting. What the movie correctly perceives is that somewhere along the line we've lost all sense of shame in our society.

A sweet and delicate comedy, a film to make you hold your breath, it is so precisely devised. It has big laughs, but it never seems to make an effort for them.

Working within the limitations of the star rating system, I give four stars to the subjects of this movie, and two stars to the way they have been boiled down into cute pictures and sound bites.

Panic about pop culture is not new. Yet Antiviral finds a novel angle of attack.

A movie with some nice surprises, mostly because it takes the time to create some interesting characters.

Friends With Kids is altogether too casual about parenthood, and that supplies a shaky foundation to a plot that's less about human nature and more about clever dialogue.