A movie that I find oddly touching. It is no doubt too thoughtful for the summer action season, but I appreciate the quietly realistic way Shyamalan finds to tell a story about the possible death of man.

By the time the Incredible Hulk had completed his hulk-on-hulk showdown with the Incredible Blonsky, I had been using my Timex with the illuminated dial way too often.

(1) Shot for shot, Maddin can be as surprising and delightful as any filmmaker has ever been, and (2) he is an acquired taste, but please, sir, may I have some more?

It is a poem of oddness and beauty.

Not one of the great recent animated films. The story is way too predictable, and truth to tell, Po himself didn't overwhelm me with his charisma. But it's elegantly drawn, the action sequences are packed with energy, and it's short enough that older viewers will be forgiving.

Sandler works so hard at this, and so shamelessly, that he battered down my resistance. Like a Jerry Lewis out of control, he will do, and does, anything to get a laugh. No thinking adult should get within a mile of this film. I must not have been thinking. For my sins, I laughed.

As a visual spectacle, it is all but overwhelming, putting to shame some of the recent historical epics from Hollywood. If it has a flaw, and it does, it is expressed succinctly by the wife of its hero: "All Mongols do is kill and steal."

It's one of those off-balance movies that seems searching for the right tone.

This movie is remarkable in that it seems to be interested only in facts.

Children should not be allowed within a mile of this film, but it will appeal to "Jackass" fans and other devotees of the joyously ignorant.

Living these lives, for these people, must have been sad and tedious, and so, inevitably, is their story, and it must be said, the film about it.

Here is a 145-minute movie containing one (1) line of truly witty dialogue: "Her 40s is the last age at which a bride can be photographed without the unintended Diane Arbus subtext."

The movie deserves more stars for its bottom-line craft, but all the craft in the world can't redeem its story.

It's a spellbinder with a lot of Hitchcock touches and an Ennio Morricone score to match. But does it play fair with us?

Tells an engrossing story of a remarkable man, but nevertheless it's underwhelming. Dramatic and romantic tension never coil very tightly, as the film settles into a contented pace.

A brave and ambitious but chaotic attempt at political satire.

I can say that if you liked the other Indiana Jones movies, you will like this one, and that if you did not, there is no talking to you.

The best approach is to begin with the characters, because the wonderful, sad, touching The Edge of Heaven is more about its characters than about its story

The movie itself is good and shows promise, except for the ending, when Trier shouldn't have been so poetic. Not only does Reprise generate itself, it contains its own review.

The film is built around two relationships, both touching, both emotionally true.

A movie that you might want to see for no other reason than because it exists. There will never be another like it.

For a parody, the movie is surprisingly competent in some of the action scenes, when the dim-witted hero turns out to have lightning improvisational skills.

What are we to make of this existence? Doc sees himself a messiah of surfing, clean living and healthy exercise. We might be more inclined to see him as a narcissistic monster, ruling his big family with an iron fist.

Tells the kind of story that would feel right at home in a silent film, and I suppose I mean that as a compliment.

If Fugitive Pieces has a message, it is that life can heal us, if we allow it.

You hire an actor for his strengths, and Downey would not be strong as a one-dimensional mighty-man. He is strong because he is smart, quick and funny, and because we sense his public persona masks deep private wounds. By building on that, Favreau found his movie, and it's a good one.

An odd, desperate film, lost in its own audacity, and yet there are passages of surreal beauty and preposterous invention that I have to admire. The film doesn't work, and indeed seems to have no clear idea of what its job is, and yet (sigh) there is the temptation to forgive its trespasses simply because it is utterly, if pointlessly, original.

It never really pulls itself together into the convincing, focused drama it promises, yet it kept me involved right up until the final scenes, which piled on developments almost recklessly.