The surprising part is how, once you get over the crude humor that the teen-movie genre demands, Get Over It is a nice little movie.

Stripped of the pretension of the overrated "Trainspotting," but it's also void of the earlier film's ambition or glimmers of real cultural insight.

Trots out more flag-waving wartime cliches than any movie since John Wayne's "The Alamo."

Little of this is plausible, but it is beguiling.

Perhaps you have to have lived through the 1960s to relate.

Fails to single out one plot thread and make a claim to it.

The effects never really get ahead of the characters or the script's layered personality.

The film's light success really comes down to Shannon, though, the exuberant "SNL" star whose alter ego actually seems more real and sympathetic here than she does in brief TV skits.

If only this movie were rich enough, strong enough to be worthy of this (Dafoe's) performance.

A cool and rather detached movie...Heat generates lots of energy but gives off little light.

The best thing about this new Godzilla is that it spares no expense or effort to deliver big, burly IMAX-ified action... The worst thing about this new Godzilla is how that’s the best thing about it.

Austenland is as light and airy as a cream puff, and as entirely unfulfilling. Fans of the book may find it amusing, but those looking for heartier romantic comedy fare would do well to look elsewhere.

Far from perfect, and at 122 minutes it's way too long, but after surviving an overly schematic and even hectoring first half, finally delivers the emotional goods.

An unexpectedly adult emotional rollercoaster with some very cold and unsettling things to say about men, women, marriage, and the lies we so often tell each other.

A magic-realistic fable whose lows soon prove as infuriating as its highs are intoxicating.

One Day in September does "being there" very well -- I just wish director Macdonald had spent a little more time explaining why we should want to be there in the first place.

It's a painful sit from beginning to end.

An OK debut effort, but like so many "Pulp Fiction" wannabes, it lacks freshness and energy.

The ride in this road movie isn't always as smooth as it could be, but even the bumps have some charm.

Burdge is left to do much of the heavy lifting in terms of inviting the audience into her protagonist’s shaky state, and her performance boasts a remarkable emotional precision throughout — if ever there’s a reason to seek this one out, it would be for her.

An occasionally powerful, always heartfelt drama.

There’s just too much good stuff to dismiss White Bird in a Blizzard out of hand, even if it does have a somewhat dull and desultory plot.

Doesn't go the distance in either story or style, unwilling to liberate itself from real or presumed expectations about what it takes to sell a movie featuring teenagers.

A snoozy-but-diverting, lightly constipated B-movie.

Look to the cast as the best reason to see this film.

It's sumptuous, archaic, and longer than a firehouse ladder.

It’s merely somewhat better than last year’s meandering dud — a slight improvement on a movie that should have been pretty easy to improve upon.

An exercise in outrageous style over substance.

If anything saves this movie, it's the acting.

I really wish a younger man than Clint Eastwood had directed it.

Boyd would be smart to add a little sound and fury next time around. War is hell, after all.

While there are some okay side stories (stuff with the daughters and daughters’ friends) it kinda feels like attending a dinner party and checking in on the first world problems of a friend you kinda like, but don’t like enough to ask any follow up questions.

Looks like a very cheerful and imaginative accident.

When the film is sexy, it's truly sexy, assuming that you believe sexiness has something to do with the exploration of a connection between people.

Somewhere around the beginning of Hour Two, the narrative loses momentum, and Pino Donaggio's molasses-thick score begins to drag everything down with it. The ending also lacks the surprise twist that seems to be promised .

About two lives in which transformation is a constant, destabilizing threat to freedom and sanity. That's a very provocative premise, though halfway through the movie Doyle and Walsh abandon its potential to go for easy laughs.

A difficult, ambiguous film.

Actually funnier than the first movie, but getting to those parts requires a little bit of patient mental fast-forwarding.

Kusama understands her subject intimately, and it shows.

Crass and depressing drama.

Enough well-conceived jokes that the whole thing works very nicely.

The premise is provoking and well-conceived, confidently moving things forward until the increasingly knotty rules of the film’s universe eventually come to overbear the experience a bit in the homestretch.

Alas, when Rounders lays out its cards, the results aren't as much as you'd been led to believe. But the movie's style and authenticity run a good bluff.

Go For Sisters is something of a frustration. It’s the least interesting crime caper ever, and there are fascinating characters forced to go through the motions as if any of us could possibly care.

Consistently runs the danger of substituting cool but ultra-hyper, modern special effects for boring old human sentiment.

For those seeking even a little adventurousness in their filmgoing experiences, the movie will wear thin very quickly.

Unfailingly energetic, 10 Things is like a puppy that can't stop wagging its tail, begging for attention...Even more than "Cruel Intentions," this movie plays like an awkward high-school production of a classic.

Eventually fizzles out badly.

Altman is just as nastily misogynistic as ever.

Hughley and Jones have an explosively comic chemistry together; her kooky, open-faced looks are a counterpoint to his whipcrack improvisations.

Mildly amusing, both charming and diverting, it plays like a La La Land home movie.

A pleasant surprise that The Crew offers up the charms it does.

It has a nose for what's cool, but is completely inept at execution.

As a primer on the arcana surrounding the profession of personal injury lawyer (more familiarly known as ambulance chaser), A Civil Action is deeply, and even passionately, informative. As a drama and character study, though, it mostly misses the mark.

Watching Seven is like cracking open a safe, only to find it crawling with eels

All fleeting charm where it could have been one of the most memorable films of the decade.

Drags on far too long.

If it weren't so pushy about selling itself, The Dish might have been a very special movie.

Bulworth shoots along with great vigor, and its non-politically correct jabs are occasionally exhilarating.

The movie gives us episodes from her life, and although some of them are charming and all of them well-played, I occasionally found myself wondering why I should want to be interested in this person.

It is -- in mood, execution, and shameless sentimentality -- a Bette Midler movie with an Irish accent.

For all its flaws, Fantasia 2000 is certainly something to see.

Mostly he's (Fraser) trapped in a sequel that's too wrapped up in a desire to top itself.

Has its clunky and wince-worthy moments, it does explore some new territory, and there are moments when it's quite fresh and moving.

Compulsively watchable and its occasional lapses into that familiar Polanskian overkill are almost charming.

While writer-director Frank Darabont often fails to make King's story plausible, that's no fault of the actors. The performances are the movie's strong suit.

It's not that this is lousy entertainment, it's just that it's a Serious Topic given unnecessary Celebrity Sheen.

A reminder of why Bullock became a movie star in the first place.

Works best as a free-flowing essay.

Gitai, a veteran documentary director, refuses to find an easy resolution to the story, and that will frustrate as many people as it pleases.

Although The Reluctant Fundamentalist raises some complicated questions, in the end, it doesn’t challenge that much.

The evidence Herzog serves up is impossible to dismiss.

Sometimes star power alone can keep you from walking out of a movie, and this is one of those times.

Prince Avalanche occupies a strange space between [Green's] broadly comedic fare and devoutly character-driven dramas, and while we’re happy to see him closer to the latter mode once more, let’s hope that he’ll be back in a bigger way the next time out.

Despite the numerous patchy moments The Brass Teapot by and large squeaks by as an enjoyable entertainment.

In the end, solid acting, stellar special-effects, and well-wrought tension make the film a worthy date flick or matinee outing.

(Tyler's) voice is still mall American, and Onegin's rejection of her is nowhere near as puzzling or as tragic as it's supposed to be.

A good, though unremarkable, film.

The problem is that the motion picture around these individual stunts is patently a committee-made artifact.

I Origins is about on-par with “Another Earth,” but it’s still disappointing that a film so obsessed with the eye has such a fuzzy, blurred vision of what it wants to do.

Good enough in spots to make you wish it could have sustained its campier inclinations.

Carrey's performance, and Forman's lively attempts to ask serious questions about the nature of comedy, keep it interesting. Certainly it's never dull.

It's a film in which nothing is at stake, that's safe and sentimental to the core.

Once at sea, The Perfect Storm collapses in a heap of spectacle and a dubious piling-on of scary incidents.

Entertaining as it often is, Outside Providence feels as if it were a collection of installments from an unusually raunchy television series.

All the Pretty Horses may end up being a good movie to watch on DVD, when all the footage is restored and we can see the subtle shadings Thornton jettisoned.

The true star of this film, funny and often breathtakingly lovely, Zellweger carries virtually every scene in which she appears -- which aren't nearly as plentiful as one might like.

For me, Trixie finds its own peculiar groove, and-buoyed by a compulsively watchable actress-folds neatly into the off-center work of a distinctive American director.

Has a soundtrack crammed with infectious music gleaned from fairly surprising sources.

The Host gets bogged down in its “who’s kissing whom now?” dynamics, and it becomes all too easy to snicker at it.

There's not a single moment when you forget it's Weaver; she always seems to be inhabiting this poor character's soul for her own purposes.

A smart and somber little film with some decent performances and a few sharp observations about function and futility, but I can't help wishing that the picture, like it's characters, had not gone quite so gentle into that good night.

Fancher seems uninterested in developing real suspense, or incapable of it, at least until the end, when there's plenty of it, but artificially imposed.

A mixed bag, all in all (casting Huey Lewis was not the best idea), but worth seeing.

Streep delivers another of her chameleon-like transformations in appearance, accent, and manner.

Remind(s) us of the power of good old-fashioned character-driven movies.

What makes the film ultimately successful, though, is the outstanding comic talents that inhabit it, especially Zahn and Macy.

Intelligent thriller--turns-- into an embarrassing gothic horror show.