Twilight isn't an especially good movie, but neither is it an abomination. At times, the dialogue is laugh-aloud bad - almost to the point of being hilarious.

It's an epic pretender, not an epic contender.

The film's biggest problem is its director. Marc Forster is an experienced art house filmmaker with impressive credits (most recently, "The Kite Runner)", but he is clueless when it comes to action sequences.

The film's success or failure depends almost entirely on a viewer's ability to relate to and become involved in the lives of the characters. We are with them for less than a week and, during that short time, we come to understand the lifetime of hurt and misunderstanding that stands between them.

After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls "Big Night."

The result is magical and life affirming, and will enrapture those who are not scared away by the mention of "subtitles."

It's disposable entertainment at its most extreme.

The Boy in the Striped Pajamas should be heartbreaking, but it isn't. The muted quality of its impact is the result of narrative shortcuts and a desire to keep the images from being too startling.

If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.

There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.

For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."

If The Player set the bar high for this sub-genre, Levinson's attempt, which too often falls prey to self-indulgence and tedium, comes up significantly short.

The final 15 minutes are so awful that it's difficult to believe that the bulk of the film is actually decent.

While Straczynski should be commended for remaining reasonably true to the historical record, this results in an open-ended conclusion that isn't entirely satisfying.

The movie's action largely takes place beneath the skin. The pace is slow but not glacial, yet Claudel demands patience. Ultimately, I've Loved You So Long is uplifting, although one might not expect that from the thematic material.

Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.

Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.

Superficial, uninformative, and inert, this two hour snoozefest isn't even inflammatory enough to stoke a righteous anti-Bush brushfire. W. does for recent history what Oliver Stone's epic "Alexander" did for ancient times.

The film provides ample opportunity to attack the MPAA's hypocrisy. Max Payne is a bloodbath, yet it manages a PG-13 rating by keeping the explicitness of the killings just a whisker shy of what would be necessary for an R.

The other actress to stand out is, unsurprisingly, Queen Latifa, whose intense screen presence makes her a force to be reckoned with even when she's simply standing in the background, not saying anything.

Sex Drive's first 30 minutes may lead one to suspect there's nothing new to be seen here, but it undergoes a transformation once the preliminaries have been dispensed with. John Hughes would be pleased - and so also might Judd Apatow.

Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.

It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.

While Ernie's on-field accomplishments were extraordinary, it was the environment in which he struggled to achieve them that makes him the worthy subject of a motion picture.

City of Ember has almost anything one could want from a science fiction-based family adventure film: likeable characters, an imaginative setting, and a fast pace.

While any or all of the events related during the course of the film might seem to form the backbone of an unendurably boring motion picture, everything comes alive because of Poppy.

As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.

The problem with the movie, whose title compresses "religious" and "ridiculous" into a single word, isn't that it milks more than one sacred cow but that it does so with minimal subtlety and intelligence.

Feels jumbled and disorganized. It's not altogether unpalatable, but that doesn't present it from being a mess.

Geared more toward teens, although that won't prevent older viewers with an affinity for romance from appreciating the vibes it gives off.

It engaged me throughout and I found the ending to be surprisingly hopeful.

In short, Flash of Genius fails to make viewers care with any depth about the story it's telling.

At times, the movie gets bogged down in minutia but the emotions evoked and captured are as honest and brutal as one is likely to find on film.

There is no truth to the rumor that free frontal lobotomies will be performed at the entrance to all theaters showing Eagle Eye.

Most of the laughs are unintentional, but the result is absurd and laughable.

Miracle at St. Anna is overlong and poorly focused. It tends to meander, the military context is not well established, and too much time is spent on interaction with underdeveloped secondary characters.

The movie veers with surprising ease between comedy and tragedy. Some scenes are hilarious; others are somber.

The weakest aspect of The Lucky Ones is by far the conclusion, which is flat and contrived.

One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.

My Best Friend's Girl isn't just a misfire; it's a misfire compounded by a chain of miscalculations, and it's hard to figure out who this could appeal to (except, perhaps, Dane Cook's fan club).

In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.

Westerns often take themselves seriously and, while Appaloosa is no "Blazing Saddles," there's a refreshing vein of understated humor running throughout the production.

It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

This is a thriller with a high quotient of comedic elements or, if you prefer, a comedy with a high quotient of thriller elements. As is always the case with a production of Joel & Ethan, it's difficult to classify, but that doesn't make it any less enjoyable.

This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.

Its failure to live up to even modest expectations is a blow. There's nothing righteous to be found here.

Ball may not have the answers but he eloquently and forcefully explores some of the potential ramifications. The ending may be too pat, but the journey to get there - bitter, spicy, and poignant - more than compensates for any last-minute fumbles.

The lackluster acting and horrendous dialogue don't help.

An uncommonly intelligent espionage thriller that explores the moral and ethical dilemmas faced by agents who go deep undercover in the service of their country.

This movie is about mayhem on wheels, tough guys viewers can root for, and villains whose comeuppances audiences crave. That's what Death Race is all about and, for what it is, it does a solid job.

The resulting hodgepodge of unfunny, sophomoric humor and PG-13 T&A, frosted by a sheen of appallingly nauseous "drama," makes for such a noxious brew that it's amazing viewers stay in their seats for the entire production.

A rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.

The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.

The Clone Wars is the last nail in a coffin that has been propped up ever since George Lucas sold his creative soul in the quest for a few more pieces of gold.

An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.

The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."

Tropic Thunder understands movies, understands the system in which they are created and, most of all, knows what it takes to make an audience roar with laughter.

This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.

The film has energy but isn't well paced. Nothing about it quite gels.

The humor in this movie is smart enough that even a moderate level of intoxication or inebriation is not necessary to enjoy it.

As chick flicks go, this is one men can attend with the expectation that they might just enjoy experiencing two hours alongside these down-to-earth, appealing characters.

Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.

Swing Vote marries mild satire with Capra-esque melodrama in a formula that works surprisingly well.

Wonderfully romantic and romantically bittersweet. It's not about forever; it's about now.

An exercise in mediocrity. It's curious how little of the TV series' charm and appeal can be found in this uneven, plodding excuse for a reunion.

Humor is subjective, but this movie made me feel as if I had been subjected to something unpleasant.

The movie is entertaining on a superficial level, but there's little beneath the surface.

The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

A fascinating time capsule: a combination of talking-head interviews, actual footage, and re-creations that evokes a kinder, gentler world and provides insight into one of the most audacious stunts of the 20th century.

Christopher Nolan has provided movie-goers with the best superhero movie to-date, outclassing previous titles both mediocre and excellent, and giving this franchise its "The Empire Strikes Back."

It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.

Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.

With 3-D, a little goes a long way and, in the absence of a legitimate script with credible characters, the fun dries up long before the running time has expired.

This is made-for-TV material dressed up by Eddie Murphy's participation into a theatrical release.

Not everything in The Wackness works and there are times when the divergent serious/comedic tones clash instead of complementing each other. However, in spite of its flaws, the production gets us to care about the characters and their situations.

Sometimes funny, sometimes clever, and occasionally involving, but it's never brilliant and its edge is compromised by the neutering that accompanies the teen-friendly PG-13 rating.

Put simply, WALL-E is about as charming as movies get.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

Steve Carell's portrayal of Max is just about perfect for the material.

Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.

The characters in Brick Lane must define themselves and determine where "home" is before they can move forward, and that dramatic conflict lies at the heart of this motion picture.

The Happening is a movie to walk out of, sleep through, or - best of all - not to bother with.

The Incredible Hulk is a more traditional superhero movie than its predecessor and should please those who want their not-so-jolly green giant served with helpings of action. This film provides less talk and more smashing.

This is a solid family film material, although one suspects the children will get a little more out of it than their parents.

A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.

There are enough laughs to justify it being labeled as a comedy but a stronger storyline than one normally associates with this kind of film. It's an enjoyable diversion amidst the big guns of summer.

For those who do not consider themselves to be among the Sex and the City faithful, this is a painful experience, perhaps the longest 148 minutes likely to be spent in a movie theater this year. Watching grass grow is more dramatically satisfying.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

There are times when it is bitingly funny and times when its bloodiness can cause a wince and a shudder - but director Stuart Gordon is not adept at blending the two extremes into a cohesive whole.

Simply isn't a very good motion picture.

The Edge of Heaven is marked by a number of remarkable performances.

Overall, while not as strong in terms of plotting or character development, Prince Caspian is nevertheless a better cinematic experience than its predecessor, if only because it feels more confident and polished.

At an exceedingly long 135 minutes, the film needs more than what might result from the explosion of a Crayola factory, and Speed Racer has nothing extra to offer - no heart, no excitement, no moments to cherish.

Pretty pictures - thats what The Fall has to offer.

This unexceptional and uninteresting story of a self-pitying borderline-personality teenager verges on being unwatchable as a result of McDonald's decision to bombard the audience with extraneous images in lieu of telling the story.