It's a special film of sacrifice, redemption and hope in the shadow of a holocaust that packs an emotional wallop from which there is no escape. I can't get it out of my thoughts, and I recommend it highly.

Haywire makes no sense whatsoever, which should come as no surprise. It's the latest brainless exercise in self-indulgence from Steven Soderbergh, whose films rarely make any sense anyway.

Not a great movie, but satisfying enough to hold attention and win your affection - a rare blue-plate combo on today's overcrowded menu of movie chaos that sticks to your ribs and stays there.

You anticipate every scene before it happens and figure out every secret before it's revealed.

Expect the dregs for weeks to come, but I can safely say with absolutely no trepidation that it is unlikely to get worse than a lurid, lewd and loathsome shockfest called The Divide.

Grousing aside, this is a disarmingly sweet movie, enjoyable to the hilt, with music that really stomps.

Let it be said that Ms. Streep is galvanizing, even as the film slogs through too much information and not nearly enough illumination.

War Horse is a don't-miss Spielberg classic that reaches true perfection.

We Bought a Zoo has more soul than substance, but I'll be darned if it didn't put a smile on my face and keep it there.

Certainly not a bad movie, but a disappointing one. It knocks itself out trying to break your heart, but it's too starched and blow-dried for its own good. Maybe if it had manipulated me less, it would have moved me more.

Scathing and funny and cynical about contemporary society and the hypocritical way we live now, Carnage may not be the dream movie I expected, but it has a dream cast of pure, unimpeachable ensemble perfection.

The great screenwriter Steven Zaillian's elaborate, convoluted script, so muddled that even after it's over you still don't know what it's all about, is a drawback - but the movie is a master class in sinister style, tense and deeply uncomfortable.

In Darkness is gloomy and hard to take for a running time of 145 minutes, but it's an important film, related with deep conviction, and uncompromising in its understanding of the remarkable things members of the human race have done - to, for, and against each other - in the wilderness of war.

It's a fatiguing, low-key character study that drags along annoyingly and pleads for patience, but stick with it and you'll find the engrossing centerpiece performance by Ms. Theron a captivating reward that is well worth the effort.

A disastrous catalog of flaws, all accentuated by dilated, out-of-focus cinematography. The coke-snorting, booze-guzzling and vomiting add up to nearly two hours of frustration, anesthesia and pointless, self-indulgent excess. They should have called it "I Vomit With You." There's plenty of that too.

Movies like Sleeping Beauty are as sensual as cottage cheese, not to mention passé.

This is the most unwatchable horror movie masquerading as social comment I have seen this year.

The film works because of Mr. Harrelson's magnetism.

Director McQueen shares no primal truths, offers no resolutions, and the movie seems pointless. It seems almost wicked to spread on all that enticement and titillation, and then throw the sandwich away.

I can't imagine what attracted these two megahunks to such a bore.

Get ready for a smash hit. Gimmicky but delicious, this is a valentine to the movies I promise you will cherish.

What an extraordinary thrill to leave a movie exhilarated instead of drained, sated instead of empty, rejuvenated instead of depressed. It's a magical experience.

I tend to forget how marvelous Ellen Barkin can be until she gets the rare chance to pull out all the stops in a movie like this.

The Descendants is a soap opera with Hawaiian shirts.

Melancholia is his latest pile of undiluted drivel, nauseatingly filmed by a wonky hand-held camera and featuring a crazy, mismatched ensemble headed by Kirsten Dunst, who won an acting award in Cannes last year for looking totally catatonic.

I expected more from a movie about the most feared man in America for half a century. Whatever else you think about him, in retrospect, he had balls of brass - an essential quality replaced in J. Edgar by dull indifference.

As agreeable as she is to watch, the disappointing thing I feel is that she plays everything the same way. For a film about one person that reveals so little about the subject, 94 minutes is longer than it sounds. My advice is to wait for the DVD. This is definitely a movie to watch with a remote control.

Five Star Day is a respectable and intelligent little film.