There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.

Adequate light entertainment for those who enjoy thrillers, but it is uneven and the underwhelming ending will disappoint those who enjoyed the delicious irony served up by its predecessor.

Despite its uneven tone, the film is compelling and, perhaps more importantly, relevant even though the actual historical events occurred two decades ago.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

Ultimately, the greatest fault with Killing Zoe may lie in Avary's ambition. In trying to do too much (crime film, love story, psychological thriller, and dissection of an alienated generation) with a ninety-minute motion picture, his focus becomes blurred. Regardless, with a style that alternately recalls John Woo and Sam Peckinpah, and a tone that is nihilistic in the extreme, he has created a movie that, while obviously flawed, isn't easily forgotten.

The film’s climax is tautly executed; the way everything plays out is a whirl of brutal, violent beauty.

If there's one thing this motion picture proves, it's that "The Naked Gun 33 1/3" wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.

While few will debate Lee's ability as a director, this isn't close to being in his wheelhouse. Oldboy cries out for a Brian DePalma, a Quentin Tarantino, or even a David Lynch. The end result bears out the suspicion that Lee isn't right for the material, nor it for him.

One of the great unanswered questions in Hollywood is how Chevy Chase still gets work. Although his appeal is not as incomprehensible as that of, say, Pauly Shore, it's not obvious, either; "range" is one word no one will ever use in conjunction with Chase's acting ability.

Inkheart looks good and is well acted but, in the end, it left me indifferent.

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

The result is tepid humor and a less-than-compelling feel-good story of redemption and re-kindled romance.

A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.

The movie is imperfect and overlong but it’s never boring.

Two words that come to mind when considering The Judge are generic and predictable. It's also well-intentioned and earnest (perhaps to a fault).

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

Ready to Wear doesn't have enough substance to justify its length, nor does it possess enough raw humor to leaven the flat spots. The jokes are inconsistently funny, with some being worth giggles, some eliciting hearty chuckles, and some prompting little more than shrugs.

For those with a particular interest in Meir, Israel, or 20th century Middle East history, there’s enough here to hold a viewer’s attention. But, as theatrical experiences go, this one underwhelms.

The comedy is embarrassingly unfunny, the attempts at drama are badly acted and sometimes cringe-worthy, and the copious amounts of blood during the fight sequences fall short of being amusing while sabotaging any hope of taking them seriously.

From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.

It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.

Black is a capable action director so the individual fight scenes are well-executed and occasionally involving. It might have helped the excitement level if we had more than a passing affinity for any of the characters.

A Game of Shadows is a stronger, better realized movie that builds upon the strengths of the original and jettisons some of the weaknesses.

Tokyo Decadence will appeal to only a select few. The movie is rated NC-17 for a reason -- it doesn't pull any punches, and there's virtually nothing it won't risk putting on screen. Those who take a chance on this film may be shocked by what it offers, but, regardless of their opinion of the story, the overall experience won't soon be forgotten.

As a shoot-'em-up, blast-'em-to-pieces film, it's not half bad. As a futuristic time travel movie, however, it has some very serious problems.

Enjoyable and inviting.

Tron: Ares is fan service at its finest: a bold, brash spectacle that can’t get enough of its Easter eggs and callbacks. But there are two problems with this approach: it can be alienating for those outside the inner circle, and it prioritizes sensory overload over storytelling.

The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.