With his latest, the sci-fi–action–adventure The Chronicles of Riddick, Vin Diesel has established himself as the new face of morally ambiguous anti-heroes.

The music is catchy. The actors are likeable. It's all pleasant enough to watch but ultimately it's about as substantial as a pop song. Though it's unlikely to stay with you quite so long.

Finney, only seen in these flashbacks, is pitch perfect.

There’s an over-abundance of dialog that can be downright boring, especially when it’s sandwiched between fast-paced car chases and all-out gun fights.

Even if its premise weren't so achingly familiar, the film's bland humor and oddly conservative depiction of its central character, a flamboyant drag queen named Lola, would still make it seem like a museum piece.

Feels more practical than whimsical, more politically correct than sweep-you-off-your-feet romantic.

Silly, light fare made better by the over-the-top physical comedy of Bullock and King, but lacking the innate charm of the original.

Ironically, for all of Stranger's faults, director Simon West has probably made a perfect date movie: just suspenseful enough to keep you arm-in-arm with your beau or belle; but silly enough that you'll both laugh about it afterwards.

Part of the Clerks charm was that Kevin Smith made it for $27,000, and a bigger budget doesn't really help this kind of tale's authenticity.

Though McConaughey has proven himself game for romantic comedy contrivance in the past, his charisma is all wrong for the immature Tripp.

I'd gladly take the legend over this dreary pseudo-historical mumbo jumbo.

The problems with Tokyo Drift start with its ostensible hero; during the course of this movie, Sean makes so many dumb decisions it's a wonder that anyone wants to be associated with him.

The film falters in the moments where it can't decide if it's an entertainment about a likable criminal, or a serious commentary on the exploitation of the Third World.

Betty White is what makes this film memorable as Andrew’s grandmother. She steals every scene, and adds the sweetness that a film like this needs.

Flags of our Fathers really loses its way in the final half-hour, when the point-of-view abruptly shifts to James Bradley (played here by Tom McCarthy), who takes on the role of narrator, informing us of what happened to each of these men after the war ended and their names became yesterday's news. It's a jarring switch.

The controversial subject matter will undoubtedly hit close to home for many people, but a few genuinely uncomfortable scenes will either provoke the audience into serious thought or just cause them to leave the theater angry.

Though the series seemed like a great concept three years ago, it's now just a repeated assault on the senses, designed strictly for the gross-out crowd, and disturbs rather than scares.

Cocaine Cowboys might work better as a miniseries for television; as it is, the two-hour running time is fatiguing and some of the later material gets lost in the onslaught.

Earnest, respectful and thoroughly dull.

The kitchen action here is pretty diverting -- everybody involved seems to have boned up on their Bourdain and Buford, and having done so, sanitized what they've gleaned with Hollywood polish.

Ramshackle one minute, pointlessly deliberate the next.

Parents might like the film, but will be too busy explaining the complicated plot to their children to really enjoy it.

Duchovny bookends his story with a modern-day framing device that takes all that has gone so well until this point and turns it cloyingly sentimental.

While Repo! is obviously no "Zauberflöte," it does offer up spectacle on an operatic scale.

Relatively harmless fun, although it does make you wish Ferrell would do more risky, rule-bending work like "Anchorman." Enough with the generic star vehicles man, write thee a screenplay again!

Director Shortland frames the story against the apt grey, off-season ski town, but her attempt to match it with deliberate pacing just makes the film feel chilly and too long, just like Heidi's depressing routine.

The sequel to 2003's unexpected and rousing hit offers a lot of the same elements that made the original so enjoyable, but the humor doesn't have the same freshness.

The movie has some pleasures, but can be heartily recommended only to those who like their entertainments equally inoffensive and inconsequential.