It's basically just another watered-down version of Dead Poets Society and countless other inspirational-teacher films, but its emotional impact is undeniable.

A clumsy, dreadfully preposterous and pedestrian thriller that seems to believe loud noises are the same as good frights.

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

One of those slow-baked Southern character studies about taking an old flat tire of a man and finding some way to love him anyway.

The brilliant subtleties of this absorbing, must-see drama are best seen through Penn, who transforms a strongly nuanced script into the greatest performance of the year.

Apparently, none of the characters in Darkness have seen "The Shining."

De Niro is constantly upstaged by the showstopping, sunburnt duo of Streisand and Hoffman, but even their material is so recycled (more Focker puns, etc.) that it doesn’t matter who steals the most chuckles.

Fans will cheer at Schumacher's faithful inflation of Webber's vision, which interprets all that pomp and bombast as if the show were some sort of overblown Vegas attraction.

By turns harrowing and stirring, it’s a shame-inducing history lesson that never feels like a lecture.

So breathtaking is the action.

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.

Doesn't always work -- like its title, the movie straddles two separate worlds, landing squarely in the dreaded realm of "dramedy" -- but it's a noble effort.

Kevin Spacey is a darn good actor, and he's a pretty good singer to boot. But those traits alone do not excuse the painful experience to be had sitting through Beyond the Sea.

In the way that water can heal and harm, this film balances moments of dreamy spirituality with the salty harshness of family disputes.

A remarkably appealing success story full of heart and humor and poignancy, with Swank as winning as she’s ever been.

Soderberg provides a cornucopia of fizzy, post–New Wave imagery, fitting for a picture that’s pretty much all about surfaces.

Aquatic maintains its buoyancy throughout.

Big and dumb and loud and entirely past its prime.

Most of the dialogue is pretty fresh, and it’s delivered with great brio, particularly by Owen. Roberts, alas, is not at her best here, but she has almost nothing to work with.

All told, while the goods that Daggers offers are choice, the movie ultimately demonstrates that too much can be, well, more than enough.

An epic treatment of epic themes that doesn't soft-soap its audience, but at the same time provides a terrifically satisfying entertainment.

An ambitious disaster, Alexander is the rare historical portrait that leaves you feeling as though you know less about its subject than you did upon entering the theater.

Kranks is the type of grim holiday movie that reminds you of all that is noxious and insincere about the Christmas season and then chases it down with a sickly-sweet reversal

For his fourth paycheck-cashing run through “J-Bruck’s” action-hero gauntlet, Cage lazily plays Benjamin Franklin Gates-the first of many overstuffed social-studies references.

Those who have never seen the series should either swim rapidly in the other direction or be willing to dive right in and suspend disbelief about the multitude of things that just don't make sense.

Almodóvar has created a dense, audacious film in which layers of cinematic artifice lovingly camouflage (at least for a while) its characters’ dark, damaged heart.

Depp and Winslet in particular are, as you might expect, immaculate. I don't think there's another actor alive who can convey the intermingling of gentleness and passion with as much precision as Depp.

Bloated with too many pratfalls yet too little plot, and neutered of its most viciously hysterical moments.