Clash of the Titans is a flawed but mildly entertaining regurgitation of Greek mythological elements, but it's also an example of how poorly executed 3D can hamstring a would-be spectacle.

A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.

For those who remember Egoyan at the top of his craft, there's no way to represent this as anything less than another disappointment.

Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.

Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

If there's anything to like about The Bounty Hunter, it's Christine Baranski doing a Joan Rivers impersonation.

One problem with Repo Men is that there's not enough material to sustain a 111-minute motion picture.

Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.

Balances character development with plot, and that's crucial to its success.

The three leads provide convincing performances, with Dakota Fanning being the standout.

Vincere is Ida's story, but it says as much about fascist Italy and its ruler as it does about the central character.

Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.

Damon's prior appearances as Jason Bourne make him credible in this role.

The humor gets raunchy enough to earn the "R" rating, but in some ways, it's pretty tame, especially in the wake of "The Hangover."

There's more contrived melodrama in these two hours than romance fans could reasonably hope for.

The movie carries a mild PG rating but may be too intense for younger children.

Fuqua's portrait of Brooklyn is brutal and gritty; if only his characters were as vivid.

Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.

The Crazies is imperfect but it's made with a degree of assurance that will limit fidgeting and keep most horror-lovers involved for a majority of its running length.

Sluggish. Torpid. Boring. Those three words (and more) can describe The Yellow Handkerchief, a stultifying road trip movie whose inept screenplay is only partially counterbalanced by a trio of nice performances.

A case can be made that the movie is so enamored with this aspect of its approach that it fails to connect on an emotional level. Shutter Island addresses some powerful, disturbing concepts but, despite effective performances by the leads, the movie's psychological impact is minimal.

As with most political thrillers, The Ghost Writer emphasizes plot development and atmosphere over action. It's an "adult" thriller as opposed to one designed for viewers suffering from ADD.

The root problem with The Wolfman is that it's a hybrid.

The film's main problems are script-related. Most of the stories aren't merely perfunctory; they're superficial.

The appeal is there for those who crave formulaic romantic drama, but there's little of interest for a wider audience.

It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.

Considering the talent involved and the strength of the source material, there's no way Edge of Darkness should have been this disappointing. Part of the problem is a direct result of condensation - there's no way to cram six hours of the dense mini-series upon which the movie is based into about 110 minutes without paying a penalty.

It is neither deep nor intelligent, but it's not intended to be either. The saving grace of the otherwise generic product is that Bell's vivacity and Duhamel's rakish charm allow the viewer to root for them.