It's not a question of agreeing or disagreeing with this film's point of view to say that it isn't as often convincing as it is convinced.

Antonio Banderas and Catherine Zeta-Jones are back, as is director Martin Campbell, but the result has the all-too-common feel of an expired equine redundantly abused.

Unfortunately, this rich story about actual adults takes up maybe a third of Prime. The rest of the time, we're hanging with David and Rafi as they act out relationship cliches.

It all adds up to a sequel that is, against all odds, not a total waste of your serial-killer dollar.

A sour, deflating and ultimately unlikable black comedy about how awful life can be.

So rich, moving and surprising that a familiar story starts to feel new again. The details, the personalities and the final twist grab you until you're left truly shaken and inspired.

It's refreshing that something once considered terribly new and modern can still feel contemporary three decades later.

There's a sense of diminishing returns here -- "Extremes" leads with its strongest short and ends with its most esoteric. But all three offer provocative, distinct and gorgeous twists on horror and splatter conventions.

Beyond a couple of cool guns and one long, gory, clever first-person shot, Doom is something the video games have never been: dull.

It's a movie, finally, that feels longer than its exquisitely brief source material, which is a crime of sorts.

This is one of Downey's most enjoyable performances, and one of Kilmer's funniest. It's a relationship comedy wrapped in sharp talk and gunplay, a triumphant comeback for Black, and one of the year's best movies.

Powerfully explores the struggles faced by those whom DNA testing has exonerated after years behind bars.

If it's meant as a retort to anti-Semitic doctrine, it's far too episodic, anecdotal and lacking in specifics.

In addition to providing a fascinating, agenda-free look at an unseen way of life, the film presents a lesson that should be welcome among people of any faith or none at all.

In small doses, this looks kind of cool. For two hours, it's excruciating.

There are wonders here, but there are as many things that just plain make you wonder. By the end you're too addled to be truly moved.

There are moments here so out of whack that you almost wonder if David Lynch isn't snickering somewhere at having fooled everyone into thinking someone else made the film.

Caro stumbles in a couple ways. By flashing forward throughout the film to scenes of the climactic courtroom showdown, she blunts the story's dramatic impact.

The snaky cinematography pulls you through even when the writing doesn't, and the best performances keep you hoping that you'll feel the next one or the one after that just as powerfully.

An unusual and absorbing, if somewhat preachy film.

While it's focused on the people -- on men who never had mentors struggling to mentor themselves and each other -- the movie works as a smart B film.

For every gag that flies there are at least one-and-a-half that don't.

Isn't easy to watch, but it's beautifully written and acted, with a sharp eye for the small embarrassments of divorce.

It has the feel of something slaved over lovingly in merry isolation, and it is virtually the only thing I've seen this year that conveys in the viewing the obvious enjoyment its makers had in whipping it up.

Made with a slapdash non-style that doesn't seem quite lame enough to have been intentional, this aptly titled low-budget horror comedy serves up tame amounts of both guts and gut-busters.

The film is sugary, simplistic and riddled with cliches -- yet it still manages to absorb you in its story and even carry you with some of its emotions.

If you think the "Star Wars" prequels are a disease, then Serenity is the cure.

This is an awesome performance in an outstanding film, a film worthy, if you can imagine, of the book at its heart.