He can take a licking and keep on slicing. In the latest Halloween movie, he absorbs a blow from an ax, several knife slashes, a rock pounded on the skull, a fall down a steep hillside and being crushed against a tree by a truck. Whatever he's got, mankind needs it.

[Garai and Luna] must be given credit for their presence and charisma in Dirty Dancing: Havana Nights, and together with the film's general ambiance, they do a lot to make amends for the lockstep plot.

Reincarnated seems more interested in showing us countless scenes of people smoking herb than in giving us details about the making of the album it purports to be documenting. Granted, Snoop is immersing himself in a culture where this is a customary process, but it gets old and tired very quickly.

Talk about a mediocre mash-up. Much of We Are Your Friends plays like an Electronic Dance Music update of a very good John Travolta movie — “Saturday Night Fever” — with a liberal sprinkling of plot elements from a quite terrible Tom Cruise movie called “Cocktail.”

The basic idea of Uncommon Valor is so interesting that it's all they can do to make a routine formula movie out of it. But they do.

The most offensive thing about the movie is its hypocrisy; it is totally committed to the pornography of violence, but lays on the moral outrage with a shovel.

I believe it is as cruel and senseless as the killings in "Elephant," but while that film was chillingly objective, this one seems to be on everybody's side. It's a moral muddle.

A turgid melodrama with the emotional range of a sympathy card.

Compared with the sensational stunts and special effects in the Bond series, The Saint seems positively leisurely. The fight scenes go on too long and are not interesting, the villains aren't single-minded enough, and the Saint seems more like a disguise fetishist than a formidable international operative.

Alas, the sweet-natured and occasionally moving but surprisingly stiff and slight Cry Macho is most likely destined to be remembered as one of Eastwood’s lesser works.

Jake Gyllenhaal is an A-lister for a reason, but he gives a one-note, screaming performance here and is less than convincing as an unhinged psychopath who seems to have a death wish.

It's not that I don't like it. It's that I don't care.

Alfred Hitchcock called Rope an “experiment that didn’t work out,” and he was happy to see it kept out of release for most of three decades. He was correct that it didn’t work out, but Rope remains one of the most interesting experiments ever attempted by a major director working with big box-office names.

We find it hard to get invested in the fates of any of these characters, despite the talented cast and the undeniably interesting look of the film.

Since the predator is imaginary but the people who made this film are not, Predator 2 speaks sadly of their own lack of curiosity and imagination.

A step or two down from the first and second, but it has some very funny moments, and maybe that is all we hope for.

Despite an intriguing premise, some Hitchcockian camerawork and a few effective shock scares, this is a thudding disappointment with surprisingly wooden performances from fine actors, and some of the most excruciatingly awful dialogue in any movie this year.

The Protégé isn’t trying to be anything more than slick, escapist action fare, but when you have the star power of the lead trio, a terrific supporting cast and what appears to be a sizable enough budget, it’s not too much to ask for a little something in the way of a cohesive script. Instead, we get two variations on the same twist, and an ending that’s both murky and irritating. Maggie Q and company deserve better.

An ungainly fit of three stories that have no business being shoehorned into the same movie.

It fails to make us care, even a little, about the characters and what happens to them. There is nothing at stake.

Possibly the funniest movie ever made about Catholicism. It confuses the phenomenon of stigmata with satanic possession.

An efficiently made thriller, cheerfully gruesome, and finally not quite worth the ordeal it puts us through.

The story of Black Rain is thin and prefabricated and doesn't stand up to much scrutiny, so Scott distracts us with overwrought visuals.

There is undoubtedly a movie to be made about this material -- a different movie.

Unwise casting choices in two key roles. Increasingly ludicrous plot developments — even for a slick, escapist thriller. Dubious science about the potency of a nuclear warhead. Intellectually lazy pop psychology, much of it heavy on the daddy issues, as character motivation.

The movie itself isn't as interesting as the conversations you can have about it. It duplicates Thomas' miserable world so well we want to escape it as urgently as Thomas does.

Essentially just a promotional film for Jordan as a product. It plays like a commercial for itself.

The movie has terrific if completely unbelievable special effects. The actors had fun, I guess. You might, too, if you like goofiness like this.