If you think "Hero" is a sumptuous film, prepare to be blown away by House of Flying Daggers.

One reason why It works is that it doesn’t rely solely on jump-scares and gore to startle audiences. Yes, there are some of both, but It is more about building tension than cheap gimmicks.

The meandering nature of the screenplay causes the movie to seem overlong as it noticeably loses momentum following a key coming-of-age moment. The episodes that follow don’t seem as fully realized as the ones that come before and, by the time The Hand of God ends, it’s floundering. On the whole, however, this is a charming and at times moving reminder of what it meant to be young in the 1980s.

The movie highlights how little things can become big issues within the preteen bubble and draws the audience into a communion with the characters and their circumstances. Although the target audience is unquestionably mothers and daughters, Are You There God? It’s Me Margaret has things to say to viewers of all genders and ages.

This is the most mature horror movie of the year - far more adult and sophisticated than the tedious Hostel Part II. If you like to be creeped out by movies, this is one to see. It reminds us what it's like to be scared in a theater rather than overwhelmed by buckets of blood and gore.

Teeth is not only odd but it's genre-defying. The film doesn't limit its field of choice: it's a black comedy, it's a drama about teen angst, it's a romance gone bad, it's a B-grade horror film, it's an allegory about female empowerment.

The acting is top-notch, the characters are three-dimensional, and the dialogue is sharp and witty.

Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.

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

Emotionally, Linklater’s recreation of August 1980 is spot-on. Sure, there are a few anachronistic cheats (how many college-goers in 1980 had a VCR in their room?) but the tone is just about perfect.

The movie is handsomely mounted and consistently engaging. Yes, the story is familiar but part of the charm is seeing how key scenes have been re-envisioned by the filmmakers.

It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.

A grim, thought-provoking drama. It aims to be both heartbreaking and (in an odd way) inspirational, although the former is more convincingly conveyed than the latter.

Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.

The movie is low-key but each scene is packed with information. Full understanding demands full attention.

No Reservations may not be a modern day classic but, despite the relatively small budget, it has more heart than nearly anything currently playing in multiplexes.

Q & A is testimony to the validity of the old adage: a good story, when well told, can never be told too many times.

It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.

It’s closer to horror than the usual lightweight fare one finds in the genre.

At times Client 9 feels frustratingly incomplete. Gibney hints at a conspiracy among Spitzer's enemies but is unable to fully substantiate this thesis.

If nothing else, The Many Saints of Newark recaptures the feel and aesthetic of David Chase’s The Sopranos, the TV series that was frequently cited as the best television had to offer during the eight years when it was on (and off) the air.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

When the story moves into the 2000s, Christy finds its true identity—not as a tale of athletic triumph but as a portrait of endurance and survival. It’s messy, painful, and deeply human, which makes it far more compelling than the average true-life sports drama.

An unremarkable bio-pic about a remarkable man.

Although none of the characters are fleshed out much beyond the comic book level, we nevertheless find our sympathies aligning with them.

Although not as expertly-crafted as "Die Hard" or "Speed," The Rock is exhausting in its own right -- and that's just one of several convincing reasons to see this film.

A gleeful and unapologetic descent into delicious decadence, Killer Joe is proud of what it is and never tries to be something it isn't.

It's easy to admire what the Coens are trying to do in Fargo, but more difficult to actually like the film.