A flea market of fairy tales and hocus-pocus, Inkheart makes as much sense as an inkblot.

Fun but somewhat exhausting.

At more than two hours, Cherry Blossoms could do with some pruning. And do husband and wife have to have rhyming names?

Kids will be as enthralled by this film as you were by the live-action Disney movies of the '70s. It doesn't get any sweeter than a roomful of mattresses with kids and dogs jumping on them.

Much closer to Scorsese than "Scarface," Notorious gives a heartfelt yet clear-eyed sendoff to the late Brooklyn rapper Christopher Wallace.

It's fine for kids, though, and it doesn't try too hard.

Exceedingly lame.

As bland as the Kenny G-style smooth jazz its hero listens to in moments of distress.

I enjoyed the visual effects used to create some hellish creatures and the amusing nods to "The Exorcist" - cranial rotation, even a spooky staircase. But the movie slips in the last act.

An extremely awkward cross between "Ocean's Eleven" and "Rain Man."

A creative mix of horror, noir and psychological thriller. At times the story defies logic, but viewers who can accept that will find themselves caught up in the film's intensity.

As is his custom, Reygadas uses a mostly nonprofessional cast; and, as expected, he draws remarkably realistic performances.

This promising premise is turned into basically an overgrown TV movie.

The banality of evil has met its match in the banality of Good, a Holocaust parable that barely registers a pulse.

Winslet (Mendes' wife) once again demonstrates why she's one of the best actresses working today.

With its starkly contrasted visuals (fierce blacks, Clorox whites, a dash of unholy crimson), The Spirit may resemble a comic book more than any live-action film yet made, but it makes "Max Payne" look like a gleaming jewel of storytelling by comparison.

It takes a world-class storyteller and a great yarn to rivet your attention for nearly three hours. This very classy, old-school movie - employing cutting-edge technology that will make your eyes pop - did it for me.

Sandler's bizarrely clunky kiddie flick, is a sort of upside-down "Princess Bride."

Slight but utterly charming.

We watched a story of a Labrador. Who eats the couch and disobeys. I said to Lady, "It's a labra-bore."

A taut suspense flick for grown-ups.

Haunting is the best word for Waltz With Bashir, a striking animated documentary - not an oxy moron, despite how it sounds - from Israel.

The cast is solid, with standout performances by first-timer Habib Boufares as Slimane.

More like Disney's "Sleeping Beauty," somber, slow and elegant instead of frantic and dazzling.

The first time I saw Yes Man, I thought the concept was getting kind of stale toward the end. As it turns out, that was only the trailer.

The Class offers no Hollywood ending, but is rewarding for those up to the challenge.

A pleasing alternative to the season's Oscar-baiting movies.

Preposterous romantic melodrama, which uses a fractured narrative to cloud an absurd plot that would probably be laughed off the screen if it were presented in a straightforward manner.