The film proceeds like a black comedy version of "The Godfather," crossed with Oliver Stone’s "Nixon."

If The Informers doesn't sound to you like a pleasant time at the movies, you are right. To repeat: dread, despair and doom. It is often however repulsively fascinating and has been directed by Gregor Jordan as a soap opera from hell, with good sets and costumes.

The Soloist has all the elements of an uplifting drama, except for the uplift.

A documentary with no pretense of objectivity. Here is Mike Tyson's story in his own words, and it is surprisingly persuasive.

Filled with unexpected facts.

The movie never quite attains altitude. It has a great takeoff, levels nicely, and then seems to land on autopilot. Maybe it's the problem of resolving so much plot in a finite length of time, but it seems a little too facile toward the end.

Pleasant, harmless PG-13 entertainment, with a plot a little more surprising and acting a little better than I expected.

American Violet, it's true, is not blazingly original cinema. Tim Disney's direction and the screenplay by Bill Haney are meat and potatoes, making this story clear, direct and righteous.

What we sense in the film is the camaraderie among these hopeful dancers. They've all been through the process before, all been disappointed before, all know better than anyone else what it takes, all believe the best candidates don't always win the jobs.

I can't really recommend the film, unless you admire Caine as much as I do, which is certainly possible.

"How many bands stay together for 30 years?" asks Slash of Guns N' Roses, in a backstage interview. "You've got the Stones, the Who, U2 -- and Anvil." Yeah. And Anvil.

The movie is all the more artificial because it has been made with great, almost painful, earnestness.

Lymelife doesn't have the sheer power of "The Ice Storm," but it's not just another recycling of suburban angst. By allowing their characters complexity, the Martinis spill open those tiny model homes as thoroughly as a dropped Monopoly game.

I admire the craft involved, but the movie leaves me profoundly indifferent. After three earlier movies in the series, which have been transmuted into video games, why do we need a fourth one? Oh. I just answered my own question.

What surprised me was how much I admired Kristen Stewart, who in "Twilight," was playing below her grade level. Here is an actress ready to do important things. Together, and with the others, they make Adventureland more real and more touching than it may sound.

It tries to be the best bad movie that it can be.

On the basis of Gigantic, Matt Aselton can make a fine and original film. This isn't quite it, but it has moments so good, all you wish for is a second draft.

It's pleasant and amusing. If I had seen it before I was born, I would have loved it.

Algenis Perez Soto plays the character so openly, so naturally, that an interesting thing happens: Baseball is only the backdrop, not the subject. This is a wonderful film.

I swear to you that if you live in a place where this film is playing, it is the best film in town.

3-D is a distraction and an annoyance.

Wherever you live, when this film opens, it will be the best film in town.

A technically proficient horror movie and well acted.

They (the characters) approach the subjects of sex and romance with a naivete so staggering, it must be an embarrassment in the greater world. Inside their hermetically sealed complacency, I suppose it's a little exciting.

Above all, just plain funny. It's funny with some dumb physical humor, yes, and some gross-out jokes apparently necessary to all buddy movies, but also funny in observations, dialogue, physical behavior and Sydney Fife's observations as a people-watcher.

The movie resembles Mad magazine's "Spy vs. Spy" series, elevated to labyrinthine levels of complexity.

Knowing is among the best science-fiction films I've seen -- frightening, suspenseful, intelligent and, when it needs to be, rather awesome.

I firmly believe such illusions are never the result of psychic powers, but I am fascinated by them, anyway. The wisdom of this film, directed and written by Sean McGinly, is to never say.