The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.

The recycling goes as deep as the dialogue, which is a mangled and blended refrain of clichés.

Yes, Unknown is preposterous. That in and of itself is not a reason to avoid the movie. The problems lie in the way the absurdity is presented and the manner in which the screenplay resolves once the "truth" is revealed.

Akin to watching a bad sit-com that never ends.

Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.

It's refreshing to find a horror movie interested in more than slashing and gashing.

It may work for those in search of a good cry but as a story of a damaged woman to touch the soul, it misses the mark.

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.

There are fitful sparks between him (Kutcher) and Portman, but he is unable to sustain viewer interest in his character. She becomes the dominant figure and that throws off No Strings Attached's balance and impacts the all-important chemistry.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

Even as a mindless diversion, it's weak.

The Dilemma downshifts from slapstick to melodrama and back so abruptly that it is at times jarring.

Season of the Witch teeters on the edge of slipping into the "so bad it's good" camp, but ultimately ends up being merely bad.

The only arena in which Gulliver's Travels plays an adequate game is in visual effects.

This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

Watching Little Fockers is a depressing experience. Rarely does a comedy bring such an overpowering sense of sadness.

Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.

The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.

Made in Dagenham is a useful lesson in history and a reminder that we yet have a distance to travel to attain the goal, but the narrative is dry, safe, and predictable and, as a result, not fully satisfying.

Above all, however, Kevin Spacey is the reason to see Casino Jack. This movie will stand alongside "The Usual Suspects" and "American Beauty" as examples of what the actor is capable of accomplishing when he is properly motivated.

The problem with the film has little to do with the central triangle, which is engaging enough in a formula-driven way, but with the myriad uninteresting subplots that dot the cinematic landscape and have the unfortunate effect of padding the proceedings to the point of unwieldiness.

Megamind is largely what one might expect from an animated movie featuring a number of notable comedians in voice roles: an amusing diversion.

They had 28 years, and this is the best they could come up with?

Not without humor, but it lacks the explosive spontaneity of "The Hangover."

a 95-minute thrill ride from director Tony Scott, delivers the right level of adrenaline.