To the fan of ’80s slashers, this return to glorious excess is a beautiful thing.

No matter how well you think you know this tale, you do not know it at all. It offers the oldest clichés polished up like some brand-new thing by director Greg Whiteley.

Slither is what it is, unapologetically, and unlike Gunn's work on "Dawn of the Dead," it's probably too weird to be a crossover hit. Either you've got worms in your heart or you don't.

Overall it's reasonably thrilling anyway. If you're hoping for a brilliant revisionist take on the franchise, forget it.

This special-effects-crammed action blockbuster is not rocket science. It's more like rocket fun.

Both screenwriter Joan Singleton and director Wang take the time to draw real people and feeling relationships.

A nifty little war movie that defies convenient categorization.

I love it, but much in the way I managed to love "The Phantom Menace" -- in spite of its bloat, swaggering self-importance and largely neutered characters.

There is still plenty to like about p.s. , including its smart humor and its surprising ability to absorb.

One of the season's biggest delights.

If you don't view it too analytically, Men of Honor provides almost more uplift than a body can handle.

Adding to the film's underlying sense of urgency and unease is composer Robert Miller's haunting score, so reminiscent of Philip Glass' music for "The Fog of War."

Makes good use of its actors.

Has plenty of dark horror style, but it lacks the weird charm of the 1971 original starring Bruce Davison...It's a nice homage.

What Malick has fashioned here is less a conventional narrative than an impressionistic mosaic of our common, yet varied experience of life and death, as focused and clarified through the relentless lens of war.

This intelligent, affecting work is squishy at the core.

Funny and sort of creepy--a not bad little thriller with some peculiarly dated plot development.

Sails by on cute dialogue, some funny visual gags, and two enormously likable leads.

Bjork holds the movie together, her natural charisma and the overwhelming intensity of her emotions should blind a lot of viewers to the ludicrousness of the story and the intentionally rotten videography.

Director Pieter Jan Brugge makes us feel their impatience and frustration even as they do. He's aided greatly in this by the casting of the wonderful Helen Mirren as Mrs. Hayes.

Since the narrative's destination is awkwardly obvious, and the tone occasionally melts into a sticky-sweet mess like cotton candy in the sun, the movie is most often saved by its generous helpings of clever dialogue.

School of Rock, populated by bright-shiny faces given a "Revenge of the Nerds" happy ending, is light and meaningless but never worthless. It merely aspires to be a good time and is just that and nothing more, a grin-worthy buzz that wears off in the parking lot.

Adding R. Lee Ermey to the Leatherface clan was a masterful move.

By the end, you may be exhausted by the effort of trying to unravel the thing, but you may also be taken by the power of its spell. This is a movie that compels you to watch.

Not bad at all.

Keaton's so good you almost forget how wonderful Downey is as Steven Schwimmer.

From a fan's perspective, though, one might wish for a smaller budget and a truly uncompromising vision.

Aimed at the brain, when it should have been one for the heart.