As a romantic comedy, Definitely, Maybe is an explosion of sweetness and hugs that might cause your stomach to churn if you don't like your sentimentality too strong.

The major weakness in Jumper is the piling on of action and narrative in the last ten to twelve minutes. It's as though the editor was rushing to meet a deadline and did the best he could with too much footage.

Once “Spiderwick” gets to the fantasy, the story gets going.

The only reason to watch Step Up 2 the Streets, and I mean the only reason, is Briana Evigan.

A stirring and touching production, and it is difficult not to be moved by the women’s medical progress. However, it suffers from a somewhat leisurely pacing.

There is no shortage of remarkable moments.

Fool's Gold could easily have been released in 1977, and there's a sort of laid-back, timeless, Gerald Ford feel to the movie: the resolution is never in doubt, the villains are comedic rather than menacing, and no one involved seems to care one way or the other that their names are attached to this indifferent mess.

In a film full of great performances, Ralph Feinnes steals the show as Harry, the boss.

It makes for a good time with Christensen providing lovely eye candy, but as for Jenkins and his hipper than thou dialogue, and gritty direction? I’m not impressed.

Caramel will likely be the Lebanese selection for Academy Award for “Best Foreign Film;” it’s inconceivable to me that it won’t win, but it’ll still be an injustice if it does. Caramel deserves to be in the categories with the big boys, so to speak, and whoever wins for Best Actress will be the second most deserving actress of 2007.

It's a movie that manages to grow more idiotic by the scene.

A straight-ahead exercise in brutality.

It’s rare that a movie makes me ill these days, and it’s rare that I can see a movie and hate the people behind it with such abhorrence, but Meet the Spartans rises to the challenge.

Computer movies have come a long way since the good old days of monitors projecting vector graphics on hackers’ faces, but there are still some forehead slappers in Untraceable.

This is a tale of friendship, corruption, betrayal and desperation masterfully told without an ounce of filmmaking flash and with an unflinching commitment to realism.

Like a deranged version of “Clueless,” the film is light-hearted, yet subversive, displaying a surprisingly wicked bite…literally.

It’s a thoroughly intense and mostly entertaining movie.

The best way to describe Callie Khouri’s Mad Money is as “Ocean’s Eleven” if it were geared to the drones at the Oprah Winfrey book club.

There are glimpses of the wit McKenna displayed in “Prada,” but these brief gasps of life are quickly suffocated by the inevitable schmaltz.

"Taxi” captures the evil that many men do under the guise of American justice. Just as Bardem's menacing Chigurh approaches his targets in "No Country," American military administrators approached Afghan detainees with shackles and convoluted policy in their pockets.

The original movie One Missed Call is based on was pretty tame, at least by Miike standards. And since it appears studios have no intention of halting this flood of abysmal rehashes, allow me to suggest that they at least have the stones not to pussyfoot around and give us a remake worthy of Hollywood, of America, and of an audience that lacks the willpower to stop buying tickets to half-assed crap.

As the narrative lugubriously sticks to the documented events, we are served nothing more than a filmed transcript.

It's worth a look, even taking into consideration the lack of zombies.

This may be an extremely bold statement to make, but there hasn’t been such an amazing character study in film since “Citizen Kane.” I honestly can’t praise it enough. From the opening to the ghastly ending, this film will sit in the depths of your stomach for some time to come.

The camerawork is a smidge too shaky and the lighting/color design too dark for me to relish the Predator-on-Alien butt-kicking.

Edward and Carter are like the original Odd Couple, except nobody’s laughing.

The combination of pen, ink and geopolitical strife have yet to yield anything quite like it.

The two actors (Hanks/Seymour Hoffman) have terrific chemistry and riff off one another like partners in a veteran comedy team.