Overall, the whole isn’t as funny as some of the parts. While some scenes had me laughing hysterically, others had me looking at my watch and feeling like I was in the middle of a “Saturday Night Live” sketch that was just going on waaaaaay too long.

This children's fantasy flirts with the dark side, though family values win out. Thus, the movie remains devoted to heroism and is as opposed to the bad guys as it would be to killing off Brendan Fraser.

This should have been a black comic masterpiece. The cast is certainly up to the task, even in the small roles.

One thing that separates undie from indie is bad acting. Bring it on! There are some stinky performances here, and stinky moments in the script. Great! If it don't stink it ain't punk rock. I'd rather dig the tunes and remember deadpan deliveries.

More criminal than the lack of inspiration in Return to Never Land is the absence of a sense of magic.

Schwimmer impresses with this film.

Scoop is about 50 minutes of plot padded with 40 minutes of Woody being Woody.

Ultimately, this drama is an essential piece of cinematic contemplation on the value of war.

It’s unique and offers a fresh take on the kitchen environment.

The radiant Blanchett makes Charlotte's individual journey from lovelorn lady to independent woman believable and involving, and that's ultimately what counts the most -- even if the destination is less than ideal.

Tries to be bigger and better than the first "Charlie’s Angels." It achieves the bigger, but the better is sorely lacking.

If you can’t check your brain at the door then don’t even bother with The Predator. The film is loud, improbable, manufactured within an inch of its life, and takes absolutely no real risks with the franchise. If you want action movie comfort food, this might be your movie.

The Protégé is just good action-y thriller-y fun with great repeat value. It falls in that mid-range budget for an action film, maybe just a few notches below the Bourne films. So it’s the perfect popcorn and movie outing for the weekend.

It’s not as grueling as its big brother, but if Chainsaw is a five star movie then Eaten Alive is at least worthy of four. It’s only within the context and confines of Chainsaw and director Tobe Hooper that Eaten Alive seems to fall short of anything at all. On its own the film stands heads and shoulders above many others of the horror genre.

An adequate attempt, but sorry, it's just not groundbreaking.

Like a TV sitcom where the locations of commercial breaks can be foreseen, after about twenty minutes of Butterfield 8, you can predict when a transition will conclude a scene.

Oh, boy. This is not unlike watching one of the movies Jerry Lewis made after that concentration camp/clown epic nearly destroyed his career and his mind.

Lahti's feature directorial debut plays like a watered-down variation ("Ghost World") -- that is, until the final third, when the film not only deviates but flat out derails.

Predictable? Yes. Corny? Sure. But Brother Bear is still good, family fun.

Full of enough legitimate red meat to incense salivating Democrats who can't wait to tear into a pound of Bush's flesh in November. Yet, this film should truly frighten partisans on both sides of the aisle.

As much as you'd like the characters to become better people and beat Jigsaw's game, there is also a strong desire simply to watch violent spectacle. And somehow, there just isn't enough of the latter.

While Trudell has a few interesting and emotional moments in its second half, from the start it is badly hobbled by its worshipful tone.

Overall, it's good, not great.

Aside from a few routine battle scenes, the movie's action consists mostly of people slogging slowly through non-stop rain. This is not interesting, much less exciting. The dialogue is hokey hero blather.

As corny as it is, there’s a lot of heart to 50 First Dates. But this happens more in spite of Adam Sandler than because of him. The heart comes from Drew Barrymore, really, and some of the supporting cast.

An unconventional fairy-tale. There are no monsters to kill, the Prince character doesn't strike you as too charming, and the heroine is not the fairest maiden in the land.

Basically, what you have in Ju-On is a collection of effectively scary sights and sounds - sound effects play a huge part in rolling that chill down your spine – and that's about it.

For all the effort Giamatti gives in making George a convincing character, the movie itself, never quite gets off the ground. The feel is too deliberately peculiar, and Goldberger's detached style never gives us a reason to invest ourselves in anyone but George.