This uneven new film, a series of dialogues from the legendary Ingmar Bergman, is assembled like movements of a concerto.

John Leguizamo, in a rare watchable performance.

Rebound isn't funny.

A character study, the film succeeds in large measure due to the kinetically charged performance of Romain Duris.

Initially artsy, then campy, then tense, it would have worked better if writer-directors Peter and Michael Spierig had kept everything serious and let the inherent absurdism of zombie attacks speak for itself without additional ironic comment.

The filmmaker who once aimed to enchant his audiences with cheerful stories of beatific visitors from outer space now wants only to scare the hell out of us. E.T., as it turns out, is a mass murderer after all, and we are his Reese's Pieces.

This hackneyed, hapless and utterly useless redo of an overrated 1960s sitcom is excruciating to sit through for a dozen reasons.

If the Star Wars movies have taught us anything, it's that waiting 20 years for a new sequel by a guy named George can lead to disappointment.

Fashion photographer David LaChapelle expands upon his award-winning short film "Krumped," introducing us to the new dance forms popular in South Central Los Angeles via the charismatic "ghetto celebrity" known as Tommy the Clown.

Shades of "House of Sand and Fog," without the compelling drama.

Astonishing if imperfect nature documentary.

To damn Herbie: Fully Loaded as soporific crap, as lazy profiteering, as yet another needless and cynical remake in a season populated by such con artists, would be as pointless as the movie itself.

It's a lame Heather Locklear romantic comedy and a lame Hilary Duff romantic comedy all in one!

The result is a kind of quirky, high-toned soap opera.

As an actress, she (July) is annoying as hell, with a quirkiness so labored, she seems to be begging for our affection. As a director she is much better.

The result is a mood movie that sweeps you into its infatuation and holds you there.

Even if there were a great movie here, it would have been undermined by two lead actors who are barely even there, asked to deliver lines they can't handle: Bale, playing the Batman with clipped wings, and Katie Holmes as an assistant district attorney who doesn't have the gravitas to pass as an intern. Come back, Alicia Silverstone; all is forgiven.

Here is "Who's Afraid of Virginia Woolf" inflated to lethal proportion, or "The War of the Roses" reimagined as World War III.

No less amusing than an average sitcom, but that's certainly not reason enough to buy a ticket.

High Tension often feels like a ’70s exploitation movie in the best sense; unfortunately, the ending is so bad that it mars everything that comes before.

Robert Rodriguez and his kids conjure up a charming 3-D fantasy.

Miyazaki's movies are as stunning as they are confounding.

This all-star Euro-indie is stultifyingly torturous.

For anyone who believes in the gorgeously messy truth of French social drama, it's a grave disappointment.

At last, his (Howard's) first great (and filling) movie--inspirational, yes, but far from hokey; moving, absolutely, but never saccharine; and gripping, despite its being a fixed fight.

After trying to prove himself a serious actor in deadly dull movies, Ledger lightens up and brightens up a movie that attempts the trick of bringing a new spin to an old story but can't pull off the stunt.

Through hilarious and charming interviews with the kids, extended chat sessions with Green, a few words from parents, and a healthy dose of performance footage, we get a sense of what sort of community Green has created, for better and worse.

Proves an absolute chore to sit through.