Aside from being a showcase for up-and-coming action star Jason Momoa, it offers little else of note.

After a slow-burn first hour, the movie cranks up the octane with plenty of blood, guts, and bullets. The final 20 minutes feel a little sloppy, with one twist too many and an unfocused ending that may be optimistically hinting at a sequel, but everything else is solid.

The darker tone, somber subtext, and generally non-exploitative violence allow viewers to enjoy the film not only as an action/thriller but as something with a degree of intelligence and substance.

They center on the devilishly clever, exceedingly enjoyable interludes featuring the aforementioned rodent in situations and circumstances that recall the great animated work of the recently departed Chuck Jones.

With top-notch animation, effective voice casting, and a screenplay that falters only toward the end when faced with the need to provide a resolution, The Boxtrolls offers solid entertainment for older children and the parents that accompany them.

In truth, this feels more like a half-baked comedy sketch stretched far beyond its breaking point—until even the last traces of humor have leaked out like the gooey innards of a Stretch Armstrong toy that’s been tortured by a sadistic kid.

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.

Land is both a tribute to the triumph of the human spirit and an examination of the difficulties of setting aside modern conveniences for primitive survival. It also represents an announcement by Wright that her first feature foray behind the camera is unlikely to be her last.

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.

Perhaps the most compelling reason to see Sunshine Cleaning is the pairing of two of the best and most charismatic young actresses today.

Cinematic magic.

Arguably the best baseball movie ever made. The film works not because it is flawless in its depiction of what transpires on the diamond (more on a significant mistake later), but because it captures the spirit of the game at a time when baseball truly was the National Pastime.

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.

Taken as a whole, the approach doesn’t work and ultimately comes across as more off-putting than successful.

Like Jeff Bridges in "Crazy Heart," this is an opportunity for a sometimes-underrated actor (Elliott has never been nominated for an Oscar) to show his range and capabilities.

The strongest, most consistent performance is provided by Sam Rockwell, who displays a wide and convincing range of emotions.

Song Sung Blue is a good story—heartwarming, uplifting, tear-jerking, and chock full of a beautiful noise.

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.

This is as good as spectacle moviemaking gets: old-fashioned in intention but fully modern in execution. It may not stand quite as high as its two predecessors, but the fall-off is neither extreme nor precipitous.

One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.

This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.

As high camp, Willard might have something going for it, but not as a horror movie.

Oleanna probes deeply into some of the darker facets of human interaction, and anything with this keen an edge will cause discomfort. Three out of four "characteristic" movie-goers are likely to view this as a bad movie (too slow, too pedantic, too stilted). Oleanna, however, is no more intended for that crowd than are they for it. This film has been made for those willing to look beneath the surface to see a taut, intellectual sparring match where there is no absolute truth. For such an audience, this picture will leave an indelible imprint.

Broken Arrow is "Speed" gone nuclear. Yet, despite all the explosions, violence, special effects, and other choreographed excesses, this film doesn't have quite the same impact. It's fun, to be sure, and the wild ride doesn't let up for a moment, but the level of tension isn't quite as high.

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

An unconventional heist film in which a majority of the action occurs after the loot has been liberated, Triple Frontier features impeccable photography, strong acting, and well-staged action scenes that ooze tension.

The Secret Life of Pets is strong enough that parents won’t fall into a catatonic state while watching it with their offspring. Unlike top-notch animated fare, however, it’s questionable whether this can be considered “destination fare” for the single adult.

Anchorman 2: The Legend Continues could easily be called Anchorman 2: More of the Same.