An astounding achievement in production design, an original creation so completely in tune with the books' macabre sensibilities that even the movie's (arguably) happy ending can't diminish its satisfying sense of schadenfreude.

The intellectual aspirations of this series are just window dressing. Which left this viewer to enjoy the freeway chase sequence (which really is cool), Hugo Weaving’s smirk, and even the PlayStationish stuff.

There's much visual inventiveness and a good sense of fun here. But I was expecting something more spectacular.

Boasts both wicked satire and a big heart, and as a result, is nothing short of brilliant.

As a superhero movie, it's something of an underachiever, missing out on easy opportunities to push the idea to the next level.

It may not be saying much, but what keeps this movie afloat, aside from solid performances, is the nearly sophisticated dynamic of an otherwise redundant punchline.

Aquatic maintains its buoyancy throughout.

Slick, well-acted, and smarter than it has to be.

It's goofy as hell but devilishly smart about it, which is why it's such great fun.

So stupendously funny at times that she (Streep) nearly salvages the whole thing.

What little anti-war critique Peirce presents -- and she has it in her, which makes it all the more dubious -- gets trampled over by jingoistic Rambo porn.

Irritatingly, Fleder's flair for broadcasting plot twists treats the audience with the same patronizing indulgence as Hackman does his potential jurors.

Meet the Robinsons is a mess -- a sometimes fun but mostly frustrating mess.

This is definitely one to make you feel good all over.

The Hanks overload feels like The Polar Express is "Being John Malkovich" transmuted into a computer-generated 21st-century children's Christmas film.

Looks, feels, and tastes like a more accessible evolution of "Cremaster," so try to gauge your own tolerance for indulgent eccentricity (at 135 minutes, it could stand to lose 20).

A thoughtful, involving and sometimes moving film that almost (and I do mean almost) justifies its use of 9/11 as a dramatic device.

It's the stuff of countless advice columns, daytime talk shows, sitcoms, romantic comedies. Quite frankly, it's tired. What makes a difference here -- although really not enough of one -- is the people.

It’s a 21st-century version of "The Sting" for these so far rather unkind and ungentle times.

The idea for the film is engaging and interesting, but the result is bland.

The Soloist is based upon a true story, so it lacks some of the clichés that you might find in other made-up tales.

Their movie is cold, and I mean that not as a weather pun, but in the sense that it's impossible to warm up to a character who sees the awful things happening around him strictly in terms of how they affect him.

With the global economic meltdown affecting just about everybody, the film is pertinent, hugely entertaining, and, above all, timely.

13 Tzameti is certainly nightmarish, but it's the kind of nightmare that fades instead of lingering on in the memory.

Subtly gaining momentum as it dexterously glides through pages of good-time, snappy dialogue, Criminal offers no time to catch your breath, let alone enough to think through its reality-stretching story flaws and subtext-lacking motives.

Ultimately, The Jane Austen Book Club amounts to little more than a lukewarm collection of half-realized rom-com scenarios not fleshy enough to warrant their own movie.

By handing the directorial reigns to Louis Leterrier, the Parisian filmmaker responsible for the breathless "Transporter" films, Universal reveals its desire to emphasize spectacle over story.

Fighting is a fun, frank and faithful homage to simple inner-city drama.