Thoroughly irritating little film.

A droll, poignant comedy enlivened by two terrific performances.

Time is more than reasonably diverting.

Pheonix is smartly-constructed enough that non-acolytes interested in checking out Harry's world won't need too long to catch up.

Paths collide and allegiances form between the good, bad, and ugly, but under the incoherent direction of Chalerm Wongpim, a clunky dullness sets in whenever the action subsides.

One of the most diabolical things about this psychological thriller is just how open to interpretation it is.

This is filmmaking that's as rousing as it is strange.

Grab some popcorn and make a pit stop, then sit back and enjoy it. You signed up for a movie about giant robots.

Krasinski and Moore are an adorable couple, but marriage material they aren't, especially since they're given a mere ten minutes to form a full-fledged relationship before Williams breathlessly barges into the picture.

This is a movie, not a position paper, and Moore aims to entertain as he informs.

The slapstick-comic set pieces involving Remy and Linguini's cooking struggles might solicit the admiration of Buster Keaton and Jacques Tati.

A mistake was made: Evening is a book that would have been best left on the page.

An unexpectedly retro throwback to '80s actioners and '90s hacker movies, totally preposterous in both its heroic near-death escapes and abstract tech-jargon explanations for how anyone with geeky inclinations can remotely override any computer system with a few easy keystrokes.

While 1408 is no classic, it is refreshing to see a horror picture that just wants to do its job rather than prove to its audience how ruthlessly nihilistic it is.

The film wraps up in a neat, environmentally friendly package that might keep some kids entertained but will leave adults yawning.

What does not work, in a movie where almost everything, including dramatic rhetoric, has been kept on a modest scale up to this point, is the heavy-handed way Winterbottom (and Jolie) contrast the pain of loss with the pain of begetting toward the end.

You'll laugh, you'll groan, you'll never buy wool again.

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 decent comic-book movie that delivers its goods with good humor and a minimum of bloat.

At the end of the movie, the only mystery left unsolved is where your time and money have gone.

The film is punctuated by a literal knock down, drag out affair that has all the perverse curiosity of watching a "late career" Mike Tyson bout. But by the end, the real knockout is the discovery of this comic gem.

With its use of aggressively cheerful hues that are equal parts Technicolor and Tim Burton Candyland, Fido is a "boy and his dog" movie thrown into a horror movie blender. This is perfectly realized in a jaw-droppingly funny "Timmy's trapped in the well" sequence that almost seems like it could have been made in the 50s had George Romero ever worked on "Lassie."

As the caper reaches its conclusion in a swirl of turnabouts and twists -- you'll never guess in whose favor all of them go -- Thirteen delivers more than enough gaming satisfaction for one such picture.

Fails in what amounts to its only distinct purpose: to smugly push the envelope of depravity farther than anyone else.

Up will still make you feel like you've caught a big wave.

More often than not laugh-out-loud hilarious.

We'd really like to crawl into William Hurt's head and experience whatever movie he thought HE was making.

Directed with little flair, a one-sided perspective and a questionable sense of moral responsibility by Dan Klores (his negligent lack of an editorial voice in the couple's lunacy reeks of train-wreck exploitation), Crazy Love is a disturbingly captivating tabloid horror, but that's not Klores' doing.