A palatable film. It offers a few solid laughs and will provoke some smiles.

Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.

Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.

Doesn't have the decency to end when it should.

As far as I'm concerned, it's official: Hollywood has lost the art of how to make horror films.

Has a fascinating premise; it's the execution that's sloppy.

Hostage has suspense and momentum.

Robots is more than a load of spare parts, but there are some sprockets and rivets missing.

The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project).

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

Lacks both a focus and an edge, making it an amorphous mess.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

Offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.

The end result is an unremarkable, unmemorable movie that deserves neither praise nor approbation.

If there's the kernel of a good story buried somewhere deep in Cursed, it never pops. As werewolf movies go, this one is on par with "An American Werewolf in Paris," but at least that dud had plenty of gore and Julie Delpy's bare breasts to recommend it.

It will bore you.

An accomplished film that uses dark humor to leaven its serious topics.

Constantine will appeal most strongly to those with a penchant for vivid cinematic comic book adaptations.

Downfall and Bruno Ganz are deserving of Oscars they will not get.

Bright, colorful, and exhilarating.

Hitch is 2005's lone legitimate contender for a Valentine's Day movie date.

Passably interesting, occasionally compelling, sporadically amusing, and badly lacking in focus.

This is a charmless, lifeless affair that had me leaving the theater in a mood more appropriate to a funeral than a wedding.

As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.

It is a ghastly experience, and I left the theater feeling as if I had waded neck-deep through a stream of raw sewage.

For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.

The main problem with Coach Carter can be summed up simply: too much sermonizing.

One of the least effective comic book-to-movie stories to have come along in the past few years. Without a viable screenplay, there's nowhere for the character to go, and no way to avoid making her look silly.