For all its faults, Gracie is made with enough grace to get us rooting for the protagonist.

Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.

A curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. This is a tense and engaging thriller.

Bug is creepy and hard to dismiss, but it's not a lot of fun and its weaknesses leave a bitter aftertaste.

The last 60 minutes offer adventure as rousing as anything provided in either of the previous installments. Unfortunately, that doesn't account for the other 108 minutes of this gorged, self-indulgent, and uneven production.

Angel-A is an intriguing film, but more of an interesting failure than an offbeat success.

Manages to mix in a few good gags with the requisite gore.

Four words say all that needs to be said about Shrek the Third: more of the same.

This isn't a perfect motion picture but, in the midst of summer's vapid pursuit of spectacle, a movie that provides real heart and emotion is a rare find.

The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made "The War of the Roses" and "Bad Santa" such devilish pleasures.

"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.

A tender movie about a poignant and difficult subject.

Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.

A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.

The result is a mature and challenging motion picture, and something that will stick with viewers after the screen has gone dark.

There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.

The ineptitude of the movie's drama is matched only by the failure of its humor.

This isn't a bad movie; it's watchable but the direction in which the filmmakers choose to take it results in a vague sense of dissatisfaction.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

For the most part, this movie hits the right notes and gives its audience a dose of white-knuckle tension.

Gruesomely engaging.

Enjoyable for a movie in which pretty much nothing happens.

A movie so inane that it fails to rise to the level of "good trash."

A nice little mystery thriller that takes a wrong turn on the way to its climax and morphs into a slasher movie.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

As a movie, The Hoax isn't a fraud but it's not the real deal, either.

It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.

Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.

The movie's central flaw: it's not funny enough to be worth the price of admission.

The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.

Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

Shooter does what any good thriller should accomplish - it thrills. It's fast-paced, energetic, and doesn't follow a path that seems pre-ordained from the beginning.

After this disgrace, it's time to shut the hills' eyes for good.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

Pride has little to be proud about.

It's tough to make a good tearjerker - one need look no further than this misfire to understand why.

Knowledge is not always a good thing and observing how one individual handles this unusual fantasy-tinged situation provides enough compelling drama to make Mark Fergus' debut feature a source of suspense, intrigue, and philosophical musing.

What is missing in depth and philosophical intent is compensated for with humor and humanization.

The star and the more overwrought aspects of the plot are mainstream but the philosophical implications will not appeal to those who prefer easily digestible cinematic portions. It's also true that the more deeply one considers the movie's themes and structure, the less sense it makes.

300 may not offer masterful storytelling in a conventional sense, but it's hard to beat as a spectacle and that makes it worthwhile viewing for all but the most squeamish of potential audience members.

The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.

The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.

Wild Hogs is more tired, worn out, and sagging than its protagonists - an arthritic comedy whose humor is below mediocre and whose drama is cringe-worthy.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

Ricci's performance is brave and effective - the most provocative in a career that has rejected Hollywood norms.

The Astronaut Farmer is one of those movies that makes an audience want to cheer and clap.

Recommended only for die-hard fans of the TV show. Others are advised to wait until this is available in a smaller format.

It's disappointing that so much talent has been assembled with so little to do.

A mildly enjoyable romantic comedy.

Breach is competently made but, aside from Cooper's performance, there's nothing here worth getting excited about.

This is easily the best family feature of the early year.

With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

Music and Lyrics is frequently appealing, often witty, and occasionally funny, but it's not going to convert skeptics and cynics into sentimentalists.

The funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.

It's crass, cruel, and borderline offensive, but the laughs that could redeem all of that are missing. Material as bad as the tripe that comprises Norbit can be endured only if there's a payoff. In this case, the point seems to be that some actors will do anything for a buck.

Despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.

It's a little sad that The Messengers is ultimately a good candidate for burial in a toxic waste dump because there are some good elements contained herein.

Horror fans will be disgusted by the lack of gore. Romance fans will be disgusted by the presence of gore. One is tempted to applaud the filmmakers for trying something this daring, but the result isn't good enough to warrant any acclaim, however lukewarm it might be.

Because so little of it works, the film is disposable.

Epic Movie is a waste of time. It's like a bad issue of "Cracked Magazine" come to life. It's not so much painful as it is sleep inducing.

Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable.

This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.

Alpha Dog isn't a happy movie, but it's dramatically solid and the impressions it leaves will not be easily shaken.

By the end of the film, I was hoping everyone on two legs would die, preferably suffering as much on screen as I was in the audience.

This movie is the worst kind of offender: it thinks its funny and clever, but it is neither. The filmmakers have mistaken banality for wit and silliness for humor, and that doesn't begin to address how visually clunky this motion picture is.

Freedom Writers delivers the expected messages about hope and the ability to change one's destiny, and does it in a manner that it is emotionally and intellectually satisfying.

The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.

With its lack of pretensions, Miss Potter is that rare breed of cinematic animal: a movie whose entire goal is to entertain and perhaps apply a gentle touch to the heart.

The lack of family friendliness does not diminish what del Toro has achieved with this magical motion picture.

Deeply flawed though it may be, Perfume is a challenging motion picture, and one whose impressions are not easily shaken.

The movie ends up feeling superficial and mechanical. Warhol is a cut-and-dried villain rather than a complex individual.

The most important part of any thriller - even one as upper crust as this - is the resolution, and that's where Notes on a Scandal falls on its face. The ending itself isn't bad but the single act leading to it is unforgivable.

Although imperfect, it's engaging, thought-provoking stuff.

De Niro pulls the viewer into the world he has created and holds him there, sometimes spellbound, until the story is over and the end credits roll.

With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.

We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring.

This is a brave movie because it addresses a subject Hollywood feels uncomfortable about.

Director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat.

Letters from Iwo Jima is a unique American-made war movie for at least two reasons: it depicts the battle from the perspective of the losers and it represents the United States as the "enemy."

A lot takes place during The Painted Veil's two-hour running length, but most of what happens occurs within the hearts and minds of the leads.

Rocky Balboa is not as good as "Rocky," but it allows us to forget the other four sequels, none of which was memorable.

Dreamgirls is good and at times it touches greatness.

The Good German, Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single-mindedly on the mechanics of the narrative that it loses sight of its characters.

There's no shortage of candidates for the fatal flaw: the artificial storyline; the presence of a ridiculously cliched character; the lack of chemistry between illicit lovers. Blaming one of these problems is probably unfair. The movie's failure is likely based on a fusion of all these, and perhaps a few others.

Charlotte's Web has all the requisite elements that a family film needs to succeed and endure: humor, drama, pathos, and an emotionally satisfying ending.

It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.

The Pursuit of Happyness is long, dull, and depressing.

Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.

The Holiday is no vacation. Sloppy writing, an overindulgent editor, and poor casting have taken an intriguing premise and transformed it into an uneven mess.

It's a solid performance from Leonardo DiCaprio, who has grown into this sort of "gritty" role and is more believable after having been seen dancing on the dark side in "The Departed."

The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

I appreciate that Ponsoldt doesn't go for cheap tears through over-sentimentality, but his detached, low-key approach distances viewers from the characters. I watched the drama unfold from afar but was never involved on an emotional level.

As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting.

Ten Items or Less is not landmark cinema nor is it deeply thought-provoking, but it's smart, funny, knowledgeable about life and people, and a crowd-pleaser.

With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.