From less a purist's standpoint than a seeker of serviceable junk food, this comprehensive waste of time is too bouncy to be an "Elektra" bummer, but should make Marvel mascot Stan Lee think twice about burning another lucrative bridge with unintentional hilarity.

Murderball asks you to put all your assumptions about quadriplegics aside and start over.

Has masterfully polished mechanics, some of the most seamless CGI effects in recent memory, and the Wells veneration is admirable. However, the film takes far too many creative shortcuts, like bookended narration and aliens that make strategically humanlike mistakes, completely incongruous to their technological superiority.

As endearing as Ferrell and Kidman are on their own, there's just no chemistry between them onscreen.

Land of the Dead is Romero's long-awaited masterpiece, a slyly suspenseful and droll thrill-ride that expounds on both the highbrow and the chewed-off-brow concepts of his previous trilogy, then flippantly dismisses the cheap scare tactics of the control-pad generation's gimmicky genre knockoffs.

If anything, it's the degree to which the animals differ from us that makes March of the Penguins so fascinating.

Every so often, a movie blindsides you, leaving you feeling different, enlightened, possibly even improved. Me and You and Everyone We Know is such a movie.

This is as wonderfully realized an observation of female affinity as 1999’s great "The Dreamlife of Angels."

Not bad for summer jollies, au contraire, but -- "Holy Raised Bar, Batman!" -- let's pray that the next installment measures up to the sequel summits of "Spider-Man 2" and "X2."

Features some of the best fight and chase footage you'll see all summer.

Borderline reprehensible, High Tension is a living nightmare, but then, why else would you see it?

The plot is pretty convoluted, but Miyazaki has a very good handle on it and lavishes his customary heart, humor, and inventiveness on every situation he depicts.

Lords of Dogtown may pop for the skateboarding crowd. It fizzles for the rest.

The film succeeds on the strength of the four actresses, first and foremost America Ferrera, who beautifully essays the role of narrator Carmen.

It's a brisk and lively getaway with genuine personality.

Once Palpatine's machinations set the cogs in motion for the creation of Vader, and the Clone Wars start getting bloody, Sith commences to cook in a way that no Star Wars movie has since "Empire."

Who knows what might have been if everyone involved had a little more fun with the project instead of just going through the motions?

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!

Imagine what someone like Danny DeVito might have done with the material, taking it in that darker "War of the Roses" direction instead of languishing in this sunny, not-nearly-sinister-enough "Legally Blonde" territory.

It’s hilarious, and genuinely cool.

A sadistically bland entertainment that oversells its reveals and lets its suspense drip so long that it would be nice if something (anything!) happened.

Although Scott seems to be making a point about both parties' ongoing feud for Jerusalem , the movie seems more like a classic Western than a contemporary political allegory.

Martin Short is so odd that apparently, neither he nor the film industry know what to do about it. In a way, Jiminy Glick in La La Wood is both a fictional riff on this very fact and hard proof of it.

Brothers takes a scenario as old as Genesis – two jealous siblings spar over the affections of the same woman – and renders it fresh and immediate, by virtue of the warm, almost maternal, generosity director Susanne Bier shows her characters.

It's too bad that the movie induces eyeball-rolling almost as much as it does armrest-clutching.

An enjoyable mess that aimlessly goofs like "Men in Black" when its script calls for "Black Adder."

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

Delivers a polished and well-researched look at America 's largest corporate bankruptcy with a laser-sharp focus on the personalities, practices, and fates of the top executives behind the Enron meltdown.