Neither pandering nor dull, Zathura plays exactly like a no-limits replica of the kind of space adventure that imaginative kids left to their own devices might enact.

There's something more REAL about this version, more human, more lived-in; though their words may have been penned 200 years ago, when Austen was a young woman writing about her idealized self, this cast and crew nudge the material into the now.

This is inelegant storytelling, and it almost entirely cancels out what's good about the film: Max Minghella, for one thing. The son of director Anthony, he gives a very fresh performance, popping with energy that the other characters seem to drain.

What makes Silverman a truly gifted comic is her timing and delivery.

It's facile, predictable, and contrived, but there's still something winning about this multicultural drama from South Africa.

50 Cent sounds articulate in his raps, but as a lead actor, he talks like his mouth is filled with food.

If Chicken Little were in 3-D, shown in a theme park as you sit in motion simulators, the lame gags might not be so much of a problem.

It may feel familiar, but it's a bleak and profound piece of work.

The Dying Gaul becomes so overwrought in the last act that it ends up as pure histrionics.

An affecting piece of work.

The title pretty much says it all: syrupy romantic comedy dripping with unearned sentiment.

It's a workmanlike adventure yarn, intermittently reverent to the canon but not very inspired, and it must be said that Banderas is starting to show signs of wear.

Younger, for whatever reason, simply can't abide their happiness, and so he destructs the relationship from time to time for no reason, using plot devices that wouldn't have been out of place in episodes of "Three's Company."

Saw II, despite the swift turnaround time, improves on all of the first film's problem areas, while leaving intact everything that was good about the concept.

The Weather Man is not the wacky movie Paramount is selling, nor is it cynical Oscar bait. It's just a little movie about little people trying not to get wet or freeze to death or get burned when they walk outside, and good luck with all that.

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.

Some won't appreciate the mix of tones, but none of the humor cheapens the film's final blow, nor is it designed to condone terrorism in any way.

It reminds one of "The Constant Gardener," another globetrotting thriller bereft of thrills that looks more important in retrospect than on the screen. Certainly, one man's trash is another man's masterpiece, and more power to the viewer who can stick with this deadpan travelogue and make it to the ending that actually satisfies.

Connoisseurs of horror are bound to play favorites here (this amateur votes for Box), but there's one more thing that connects these three films--the brilliant cinematography of Christopher Doyle.

The movie ultimately cops out by culminating in a fistfight between two humans, with nary a cyborg missile-throwing devil in sight.

If you're a little girl in the Lisa Simpson mold, for whom the greatest wish-fulfillment in the world would be to have your own pony, then Dreamer just might be for you. Otherwise, no.

One of the most schizoid films in recent memory. It opens with crystalline originality, a shimmering comedy with meticulous timing and sharply drawn characters. Then it careens carelessly into syrup. How could he (Martin) not have noticed?

The zingers come so fast and furious that if you miss a few (and even the most alert viewer will the first time), there are always more.

One of the powerful things about After Innocence is that, no matter what your position on punitive justice, you can't argue with the film's position.

Levin's on-camera presence is warm, wry and even-tempered, and he never feels the need to rub anything in.

Has its heart in the right place, but its head seems to be lost in a swirling maelstrom of teen movies that have come before.

The cynical should be warned that, as in "Blair Witch," most of the scares depend upon sound and editing rather than elaborate effects, but young director Ti West gets a lot of bang for his meager bucks.

A good-hearted movie aimed at Orthodox Jews who don't normally go to the movies.