Hark! A Christian thriller about the Last Days that doesn't (totally) suck. That's got to be a sign of the times.

An intermittently irresistible entertainment.

Perhaps most depressingly, in pulling out all the stops for an ugly, violent climax, he (Schumacher) cheapens this vividly drawn slice of life, turning it into a tiresomely flawed, garden-variety vigilante thriller.

Works so hard at being pleasant and ingratiating that it wears out its welcome.

Features a sexy, appealing cast, especially Guillermo Diaz.

Thanks to the first-time filmmaker's attention to character, Gun Shy is worth at least a shot at a matinee.

The appealing cast makes the most of the derivative story.

It's filled with far too much talk and it never justifies its length, but if you succumb to its old-fashioned Renoir style of storytelling, The Grandfather has its pleasures.

It's a yabba-dabba-delight.

Has an unforgettable artery of hot-blooded talent coursing straight through it.

Assiduous, temperate, and a lot more honest about government and politicians than any other Hollywood film of the last few decades, Thirteen Days is nevertheless too little, too late.

This jailhouse jam is quite a haul.

A reliably solid treat.

A vapor trail of a comedy, comfortable as an old chair (and deliciously photographed in shades of melon and banana by Chinese vet Zhao Fei), but ultimately quaint and unchallenging.

Has its funky charms.

Gets to the funny bone, but it could've cut deeper.

What ultimately keeps Titan A.E. from taking off is an ordinary script.

Dippy, funny, and fast-paced enough to be a guilty pleasure.

This is slight stuff, but the legions of budding Scorseses and Kevin Smiths might actually learn a little something, and they will certainly enjoy a chortle or two -- even if it is at their own expense.

For all its originality, O Brother doesn't seem to have a point, or enough spark to distract us from the lack thereof.

The frequent song interludes will distract the kids (but send the adults into comas), and the anti-Disney satire rages as never before.

Despite impeccable performances, this is bloodless, ho-hum stuff.

A generally likeable cast atones for the underwritten script with fine comic spirit.

Burton's films are endearing and impassioned despite the fact that they generally fail to tell a whole story, create a single rounded character, or inspire even mild laughs or chills.

The dilemma is simple: Living, making art, and then dying does not constitute much of a story.

Unsuccessfully attempts to fathom Kaufman's lunatic sensibilities, supplying scant psychological insight into what made the outrageous comic tick.

Brooks' least satisfying film in quite a while.

Accomplished, middlebrow costume-drama entertainment. It's not so simple that it could be mistaken for the work of, say, Lasse Hallström, and yet it's not so sophisticated that audiences of "Chocolat" would be mystified.