Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.

A lackluster melodrama with only a few inspired moments.

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.

Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.

This is unlike any other film I have seen... it's a great romance. It's willingness to flout conventions and eschew formulas is just one of many things to celebrate about this charmingly eccentric movie.

The movie voids a lot of good will with a cheesy ending. This is just the kind of denouement I was hoping Taking Lives wouldn't sink to, yet it does.

Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.

Unfortunately, a little too much pointless running around coupled with the underdevelopment of several key characters results in a movie that's never more than mildly diverting.

It's a taught, entertaining motion picture that serves its purpose.

The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.

This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.

Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.

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.

A family film (albeit a mediocre one).

It's only possible to have the time of your life once, and, for this franchise, that was in 1987.

Twisted is a D-grade thriller with an A-list cast. It's a disappointment from start to finish...But, in the final quarter-hour, it committed the unpardonable sin of insulting my intelligence.

It is not a step-by-step chronicle of German reunification, but it gives a perspective of the time. It's a bonus that this comes as part of an engrossing and well told story.

A gripping, powerful motion picture -- arguably the most forceful depiction of Jesus' death ever to be committed to film. It leaves an indelible imprint on the psyche; viewers of this movie may never look at a crucifix in quite the same way.

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.

It succeeds in many of the ways a sports movie should, and, by employing a slightly different viewpoint for most of the production, manages a sense of freshness.

It boggles the mind to consider that the fertile writing team of Alec Berg, David Mandel, and Jeff Schaffer, all of whom spent time scripting episodes of "Seinfeld," could turn out something as abysmally unfunny as Eurotrip.

Welcome to Mooseport's satirical edge is dull and pitted, the screenplay is overlong and uninteresting, the comedy is soft and shapeless, and the actors perform like they're on a sit com.

Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.

Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.

Miracle is inspirational and uplifting -- qualities we are as much in need of today as we were during the winter of 1980.

Misses the mark.

There's some entertainment value, but the production as a whole is unfocused.

The film's comedy is lackluster, with supporting actors Nathan Lane and Sean Hayes (as Tad's manager and agent) providing a few mildly amusing moments that would be at home in a sit-com.