It's another flick about maps, landmarks and buried treasure that makes "The Da Vinci Code" look like TOLSTOY.

A protracted piece of schmaltz, P.S. I Love You looks like a hand-me-down from Sandra Bullock and Drew Barrymore.

Mighty entertainment that makes you feel sorry for the saps next door in the multiplex.

I loved both "Walk the Line" and "Ray," but it will be hard to watch either one with a straight face again after the skewering they get in this Judd Apatow production, which quotes scene after scene to hilarious effect.

What they say is superficial. They never really explain why they risk their lives. In the end, Steep plays like a TV infomercial - and who wants to hand over $11 to watch one?

There are a few sweet moments as the story reaches its unsurprising conclusion. But, all in all, Flakes isn't going to bowl you over.

By terms moving and funny, the story reaches its apex when Half Moon, a beautiful young woman played by Golshifteh Farahani, makes her appearance from out of nowhere. Is she real, or perhaps an angel? You'll have fun trying to come up with an answer.

This partially animated, charm-free atrocity is awful enough to instantly cure any remaining nostalgia for the rodent trio.

A scary, inventive, exciting and breathless adventure that combines the best elements of “Children of Men," “Escape from New York" and “The Road Warrior," but leaves out the worst stuff - such as the story-clogging despair and political allegory in “Children," a movie that made apocalypse look like kind of a downer.

It's what Hollywood calls a 'tweener - not quite edgy or artistic enough to satisfy the art-house crowd, but a tough sell for family audiences because of its extensive subtitles, two-hour-plus running time, and a (tastefully rendered) male rape scene.

There are some funny moments, plus occasional nudity and sex, but the joke quickly wears off. What might have worked as a half-hour TV show doesn't suit itself to a feature-length film.

I understood two words of Youth Without Youth: "The End."

Most of the comedy comes from dull situations like a fat guy trying to put on a fat suit for no reason.

Everyone knows about the Holocaust, but few today have heard about what was infamous as the Rape of Nanking, when 200,000 residents of what was then China's capital were massacred by invading Japanese troops.

The tone is good-natured enough to make a simple movie semi-watchable.

Based on the many delightful samples on the soundtrack, it's an exemplary goal.

What might seem like showing off in another movie is dazzling storytelling here, packing in an hour's worth of human misery.

Five minutes before The Golden Compass started, I was wondering when it was going to start. Forty minutes into it, I was wondering exactly the same thing.

It's a cute idea that a better filmmaker than writer-director Michael Schroeder could have done a lot with.

A barbell of a movie that carries some weight at either end. What's in between is purely utilitarian, though.

Harrelson's charming flamboyance - seen to great effect in "No Country for Old Men" - is a great fit for Carter, who carries no small amount of self-loathing under his carefully coifed toupee.

Good grindhouse fun until a last act that's like a meeting of a psychoanalysts' convention.

Hollywood's Woman of the Year is a pregnant 16-year-old, the incredibly hip, smart-mouthed and totally endearing heroine of the wise and witty Juno.

In her directorial debut, Venditti does her best to keep a distance between herself and her subjects. But you have to wonder how much of the Billy we see on-screen is affected by the presence of Venditti's camera.

You won't have a more viscerally emotional experience at the movies this year.

As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.

Unfortunately, it doesn't work. None of the talking heads is as interesting as Yu thinks they are; and it's difficult to build sympathy for any of them.

Initially shows promise, but filmmaker Frank Cappello (the early Russell Crowe vehicle "No Way Back") gets bogged down when Slater becomes involved with Elisa Cuthbert, a paraplegic survivor of the shooting who wants him to kill her.