Ultimately, The Strangers does succeed in the sense that it offers a riveting, vastly credible enactment of everyone's worst nightmare.

The final act is all but guaranteed to astonish and satisfy. See this movie.

A fresh and rewarding take on cinematic terror.

It's such an insanely fun ride that most of its flaws are forgivable.

I can't deny it: I had a shit-eating grin on my face for most of the ensuing two hours. I also can't deny that many of the criticisms about to be leveled at Spielberg and Lucas over "Kingdom of the Crystal Skull" are well-deserved, but it's still good to see Indiana Jones, and Marion, back in action one last time.

Rich with compelling, often heartbreaking stories.

I can't condemn it outright, but damned if I can remember anything (aside from Izzard's performance) that would make me recommend it.

Reprise is an energetic romp through creative frustration, stagnant relationships, the fear of change and romance-fueled insanity.

It isn't going to set the world on fire, but it's perfectly acceptable for what it is.

If What Happens in Vegas... serves any purpose, it's to make me consider spending my gambling money in Reno or on a riverboat instead.

Overall, the film is alternately sweet and sad, amusing and moving.

As comic book movies go, Iron Man is a solid entry. Downey and company help drag Favreau out of the genre holes he digs, making for a decent experience.

The film is damn near a masterpiece. Let’s hope we don’t have to wait so long to see what Korine will do next.

This year’s diamond in the rough, a small movie that is big in heart and promises to be big at the box office.

There’s a lot of talent up there on the screen, and some authentic laughs, but too much of it is comedy territory that was claimed long ago.

Honestly, the most shocking thing put forth in Harold and Kumar Escape from Guantanamo Bay just might be the proposition that George W. Bush is actually a pretty cool guy.

Not only does Standard Operating Procedure look closely at visual evidence and it's true meaning, it also strives to question the validity of any given photo and, digging deeper still, the meta meaning of a photographic image.

Overall, the film is lost and never found. In her first shot as director, Hunt seems direction-less.

It is a shame the film doesn't cast a wider net into deeper political waters – the outrage is barely scratched in this production.

One small step for bad filmmaking and one giant leap for the increasing insignificance of the former Michael Corleone.

A dance of combat and humor saves a contrivance from drowning. Or, rather, Chan and Li elevate it enough to make it into a good time.

While the film has some laugh out-loud moments, it’s very poorly constructed and what we see onscreen seems to be the victim of either bad editing, poor direction or a script that was rushed into production too quickly.

Alyssa Milano is a delight, but her ten to thirteen minutes of screen-time mark her as more of a distraction than substantiation.

The film is, like "Super Size Me," extremely entertaining and, again, Spurlock shows that if it's one thing he knows how to do well, it's the first 10 minutes of a documentary.

In spite of the horrific dialogue, and even worse acting, there’s actually something to be said for Zombie Strippers!

This is a great film, to a point. Unfortunately the ending doesn't deliver, making the entire feature an exercise is wasted potential. But maybe that's the point.

It is just too bad that this film isn’t as snarky and groundbreaking as it would like you to think it is.

Two things come to mind as you watch the first act of Street Kings, the first is how fresh and exciting the movie would’ve been if it was released in 1984, the second is the question, “James Ellroy wrote that?”