The spiritual angle in Serenity is just one of the many elements making this one of the most ambitious, one of the most challenging — and one of the most entertaining thrillers in recent years.

There's a way to make a movie like The Tourist, but Florian Henckel von Donnersmarck doesn't find that way.

Too many characters, not enough plot, and a disconnect between the two stars' acting styles.

It may not be brilliant, but who would you rather your kids took as a role model: Crocodile Dundee, David Spade or Tom Green?

It’s never a good thing when a film about a dying man sometimes has us wondering if some of the people in his life will be better off without him.

This is a murky-looking, CGI-heavy dud.

It's fractured and maddening, but it's alive.

Theater of the absurd, masquerading as an action thriller.

Wrath of the Titans relentlessly wore me down with special effects so overscale compared to the characters in the film that at times the only thing to do was grin.

This is slick trash. A bloated, unfunny, sometimes downright bizarre train wreck featuring some of the loudest, longest and least entertaining actual train wrecks in recent memory.

Occasionally Winterbottom delivers a haunting, effective moment, giving a hint of a different, more compelling film. But then it’s back to the self-righteous, self-indulgent, muddled metaphors.

I would rather eat a golf ball than see this movie again.

Unfortunately, “He Went That Way” never finds a steady tone, veers off into some bizarre subplots and features two surprisingly underwhelming performances from the talented lead duo.

Contains scenes of brilliance, interrupted by scenes that meander. There is too much, too many characters, too many subplots. But there is so much here that is powerful that it should be seen no matter its imperfections.

I won't tell you I didn't enjoy parts of Bad Company, because I did. But the enjoyment came at moments well-separated by autopilot action scenes and stunt sequences that outlived their interest.

The Crew is all contrivance and we don't believe a minute of it.

Sweet and kind of touching, and I liked it. The difference, I think, is that the new one is lower on cynicism and higher on wisdom, and might actually contain some truth about the agonies of high school insecurity.

Tuff Turf is the worst teenage exploitation movie since "Where the Boys Are".

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.

Every once in a while Are You Here strikes comedic gold.

One of the worst movies of this or any year.

Had I been attending Fist Fight as a non-critic, any number of scenes might well have catapulted me out of my seat and out the door.

A brave and ambitious but chaotic attempt at political satire.

The screenplay is so clunky, not a single cast member manages to sound believable. Familiar, likable actors from Kate Bosworth to Gina Carano to Morris Chestnut are buried under an avalanche of awful. You’ve been warned.

Here are the two most obvious problems that sentient audiences will have with the plot. (1) Modern encryption cannot be intuitively deciphered, by rainmen or anyone else, without a key. And, (2) If a 9-year-old kid can break your code, don't kill the kid, kill the programmers.

What we get in Analyze That are several talented actors delivering their familiar screen personas in the service of an idiotic plot.

The film expends enormous energy to tell a story that is tedious and contrived.

Garfield: A Tail of Two Kitties is actually funnier and more charming than the first film.