The best pure thriller of 2003 to-date.

I suspect that mainstream audiences will find plenty of things to take pleasure in, even though some viewers may be bewildered by what the Coens do. But for those who share my taste in comedy, this is a must-not-miss.

There are times when Troy is stirring and engaging. However, at least as often, it is flat.

In Fast X, there's plenty of noise and CGI (some of it on the dodgy, cheap-looking side) and things crashing and blowing up, but there's never a sense that it means anything.

Calling Maleficent a "modern-day classic," as some have asserted, is overreaching. The production is engaging and appealing but only the passage of time will determine whether it holds in the memory with the strength of its animated predecessor.

One Fine Day has a few enchanting moments, such as a scene where Jack sweeps Melanie off her feet (literally), then splashes around in a large puddle of water. However, as a romantic comedy, this is a spotty affair because it's not really funny or romantic enough. Keeping the leads apart might work for something like Sleepless in Seattle, where the intention is to develop an old-fashioned, long-distance romance, but, in a movie like this -- one that's being pulled in so many directions that it's coming apart at the seams -- it's a mistake. For much of its running length, One Fine Day lacks focus and direction, and that makes it one fine mess.

This is the sort of movie that gives "chick flicks" a bad name. It's a cross between inept melodrama and a bad sit-com.

Given some of the dubious decisions made in crafting the 1987 film, there was ample opportunity to make vast improvements. Unfortunately, this Running Man fails to take advantage and, while stumbling on approach to the finish line, it trips and falls in the final moments.

The film is sporadically amusing but gives the impression it should be generating more laughs than it does.

There's nothing excessively problematical with The Recruit that excising the final fifteen minutes wouldn't cure.

Despite being broadly classified as an "adventure", it has depth and breadth that would put many dramas to shame. Well-produced, acted, and scripted, this is a film that has to be seen to be experienced, even by those who know the entire story.

I enjoyed 2 Days in the Valley. It's pure entertainment – nothing too serious, nothing too deep – with an artistic sensibility. It's rare for movies these days to recognize that the audience might have an intelligence, and even more unusual for them not to talk down to those in the not-so-cheap seats. So, if you're looking for some smart fun, John Herzfeld's feature is a worthy choice. And you don't need two days – just two hours.

The story is quirky and offbeat but the dialogue and acting set Joy up as an engaging late-year repast.

For what it is, Summerland is solidly made, but don’t expect anything extraordinary from the production.

Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."

Monsters vs. Aliens suffers from the common 3D problems: dim lighting, poor focus in fast-paced action sequences, and too many distractions for the movie to grab the viewer.

This time, it's not because mainstream movie-goers in this country lack taste but because the film isn't worth buying a ticket to see. Mr. Bean's Holiday is no vacation.

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.

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."

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.

Scholars, psychologists, and theologians can debate the point at length, but there's no doubt that Meyjes' approach is as provocative as it is controversial.

Will Smith gives his all in a role that requires him to undergo a subtle physical transformation, adopt a credible Nigerian accent, and provide a controlled, modulated performance.

Watching Live and Let Die isn't a complete waste of time, but there's no overriding reason why anyone should go out of their way to see it unless they're a die-hard Bond fan or are curious about Roger Moore's first turn in the role.

Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.

It has been argued that for characters to be three-dimensional, they must have a past, a present, and a future, not to mention an arc. The Merry Gentleman offers a counter-argument for those who would dispute this.

The one thing that never falters during the course of the film is Jude Law's volcanic performance. Reminiscent of Tom Hardy's turn in Bronson, this is the kind of portrayal that garners notice and raves.

In terms of overall visceral impact, The Foreigner is perhaps not as satisfying as a John Wick or the aforementioned Payback because it’s a more serious, complex movie. Nevertheless, it’s well-made, nicely paced and accomplishes what we expect from this sort of film.

For the most part, the documentary segments, in addition to being unilluminating, are intrusive.

To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.

Man of Steel is, first and foremost, a great spectacle.

The Mission is beautiful to look at, features impeccable period and setting detail, and offers a fascinating and tragic backstory, but it falls short in many simple human qualities. Overall, it's an impressive motion picture, but lacks the epic greatness sometimes associated with it.

The film is worth seeing for the humor and for its high level of energy, but it falls short of being the "complete package." It's probably a better pick for home viewing than a trip to a theater.

There's something to be said for the power of a classic, even if it has been given an imperfect makeover.

The real problem with Desperado, however, is that this sequel is without purpose and may be the most unnecessary follow-up since the second "Crocodile Dundee."

If the mandate for any new interpretation is to offer something fresh, one is left wondering what this version claims as its justification for taking up over two hours of our time.

It’s all in good fun, if a little shallow.

There are enough similarities between the movie and "Pride and Prejudice" that one could be forgiven thinking this screenplay is Austen lite.

There are moments when The Relic is almost enjoyable, albeit in a visceral sort of way. Unfortunately, when all is said and done, this horror/science fiction amalgamation seems like nothing more ambitious than a bad reworking of elements from Aliens, Species, Jaws, and Predator.

The movie hits its stride when it deals directly with the concert. The more peripheral Elliot is to the story, the better things become.

The period detail is impeccable and The Devil All the Time gets high marks for its establishment of time and place.

The Brothers Bloom with satisfy those with a yearning for lighthearted heist tales, comedies, and offbeat romances.

Taken as little more than six disconnected shorts featuring the same group of players in different roles, Cloud Atlas works. It's entertaining and the manner in which it has been edited reduces one's tendency to lose patience with the less engaging stories.

Anthony Hopkins is probably a shoe-in for an Oscar nomination.

Unfortunately, Kelly’s reach exceeds his grasp and the movie’s thematic content comes across as muddled and superficial.

Instead of focusing on FDR as a president, this movie gives up half its length to tawdry soap opera.

Old is as wrinkled and decrepit as the title makes it sound.

Dark Shadows is a mess, and it's unclear whether its bizarre recipe of comedy, campy horror, and gothic melodrama will satisfy anyone, regardless of their familiarity with the source material.

The film maintains a light tone and, although that creates a breezy, unforced approach, it also undercuts tension. (If they were trying to replicate the delicate balance achieved by Wes Craven in Scream, they haven’t completely succeeded.)

There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.

Gripping and compelling, and doesn't make us wish we had checked our brains at the theater entrance.

As ghost stories go, this one is handled with great subtlety and delicacy.

Despite the predictability of the overall story arc, there's suspense and tension to be found between the credit sequences, but the movie is saddled with an ending that is both improbable and borderline insulting.

Unfortunately, despite a surfeit of talent in front of and behind the camera, the movie is unable to overcome a shaky narrative whose increasing preposterousness ensures it’s difficult to take seriously.

Although the idea behind Yesterday was to craft a love-letter to The Beatles, the end result tastes a lot like a typical Richard Curtis rom-com with a generous helping of John-Paul-George-Ringo gravy.

The transformation sequences on their own are disturbing enough to upset sensitive viewers (even though the first one doesn't occur until an hour into the 97 minute film, making the first two-thirds of the movie relatively tame, with the exception of a few appearances by Jack, who looks like a "walking meatloaf").

From the sluggish introduction to the chaotic heist scenes (which happen quickly and haphazardly), the first 45 minutes of Ambulance struggle to find any sort of rhythm. Once the protracted ambulance chase begins, the film is on firmer footing and viewers will recognize aspects of the familiar Speed template, but the movie never achieves anything more substantive than being impressive eye candy. After a while, it becomes more exhausting than exhilarating.

The film clearly wants to be more than just a run-of-the-mill horror-thriller but the allegorical aspects are half-baked and the attempts to mimic Kubrick’s "A Clockwork Orange" and "Eyes Wide Shut" feel more like campy satire than an homage.

Annaud's desire to create an epic tale actually harms the production, since it results in unnecessary scenes that pad the running length to more than two hours.

Those looking for a quick horror fix may be satisfied – there are enough jump-scares to fill a quota – but, when one considers the number of inventive and interesting genre titles that have graced multiplex screens in recent years, this a disappointing exception.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

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.

An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.

The movie is loud, fun, quick moving, and features some nice acting turns.

Legend seems like a movie Scorsese might have made if he wasn’t paying attention - the elements are present but they are clumsily assembled and the outcome underwhelms.

With more attention to detail, this could have worked, but the time travel aspects are so badly executed that the movie as a whole falters and eventually rips apart at the seams.

The problem with Mr. and Mrs. Smith is that it's really two movies in one. The first is a sly comedy/thriller worthy of Hitchcock, and the other is a big, noisy summer action flick.

The violence has the straightforward, unflinching characteristic evident in "Reservoir Dogs" and "Pulp Fiction," although Yakin's dialogue falls considerably short of Tarantino's, both in terms of substance and offbeat humor.

Despite a promising premise and effective "Shyamalan twist", this low-budget horror film still underwhelms. "The Sixth Sense" writer/director is his own worst enemy in the choices he makes bringing The Visit to the screen.

There's nothing especially wrong with Nim's Island, but there's not a lot right about it either.

Even those approaching Megalopolis with an open mind and fully expecting to see an expensive and expansive art film may be disappointed by the result. The more I reflect on the movie, the more convinced I become that the things Coppola does well are dwarfed by missed opportunities and outright missteps.

The Hundred-Foot Journey represents a pleasant diversion for those who have grown weary of traditional summer movie fare. The picture is about people and how they interact. There are no explosions or car chases.

Aquaman refuses to do anything original or unpredictable and turns into a by-the-numbers tale of how the trident-carrying King of Atlantis becomes a protector of both land and sea. It accomplishes this by hoping that special effects saturation will compensate for screenplay weaknesses.

In the end, you have to possess a sweet spot for Black and his antics to find Tenacious D more than barely watchable.

Violent Night isn’t going to go down as a classic (although it may have cult classic potential) but, despite all the gore and violence and other R-rated material, it’s arguably less offensive than the kind of bilge proliferated by Netflix and Lifetime/Hallmark/etc. in the name of Holiday Cheer. There are certainly worse ways to spend a chilly December evening.

Appealing and genial with plenty of solid laughs, and worthy of a recommendation for those who appreciate this kind of thing. Just don't expect material that's edgy, dark, or challenging. Consider Love Actually the antidote to "Mystic River."

The 2014 iteration isn't as good as its 1974 predecessor but it offers its share of small pleasures, not the least of which is the crisp, sharp dialogue that never loses its punch even when it veers close to the edge of pretentiousness.

There’s a tiny problem, though: Clementine is neither erotic nor a thriller.

Despite a too-long running time of 144 minutes (the entirety of which much be endured to get to the post-credits scene), the story feels slight. There’s a strong emotional hook but it doesn’t fully compensate for all the half-baked story elements that litter the film.

Admittedly, mediocre Sayles is still watchable, but, relative to expectations, Casa de los Babys is a disappointment of significant proportions.

The key to the film's success is that it uses the burned out premise as the springboard for a comedy, not an action flick.

May not be an absolute triumph, but it's significantly better than just a good effort.

If you liked "Zombieland," you’ll probably like Zombieland: Double Tap, just not as much. It has some good laughs, although they don’t come as frequently. It has some clever moments, but not as many. And the character interaction is fun, at least most of the time.

Unfortunately, much of what's good about Promised Land is easily forgotten as a result of the preachy, impossible-to-swallow final 15 minutes in which the protagonist is subjected to character assassination, the screenplay turns into a sermon, and narrative intelligence is discarded in favor of a message.

A lot of people are going to describe it as a waste of time, yet there's a likeability to the quirky characters that held my interest while tickling my funny bone.

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.

The film's disappointingly black-and-white approach robs characters and situations of badly needed ambiguity.

There are those who will see this as a silly fantasy, but they have either missed or chosen not to feel the magic woven by The Sandlot. Predictable as the movie is, the Field of Dreams quality is not the only thing to like about The Sandlot.

Perfect Sense offers an epic tale seen through the prism of a tiny, intimate story. It's the inverse of "Contagion," which sacrificed character to scope.

As embodied by Liam Neeson, Rob Roy is a tremendous protagonist -- a naive man whose belief in honor and whose love for a woman, family, and clan make him a figure to cheer for.

The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

The movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.

One of the year's most uninspired inspirational stories.

Bright, colorful, and exhilarating.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

Generations spends its running length searching for, and never completely finding, its niche.

The comedy is sporadically amusing but never laugh-aloud funny and the drama, which one might charitably argue is trying for a Toy Story-level emotional response, fails utterly. (However, I imagine most kids up to about pre-teen age will love it.)

The material itself is unremarkable and the execution is mediocre. It stands out as often for missteps as for elements that are memorable.