The Simpsons is interested in being a family film, although this is one of those rare animated occasions when adults are the primary audience. I, for one, couldn't be happier.

In addition to telling an involving story, This Is England is insightful and informative.

The film's structure is a little awkward, almost certainly as a result of its being expanded from 20 minutes to 97.

The movie is uneven in the extreme, to the extent that it feels like two imperfectly wed pictures. The first, while not extraordinary, at least contains some interesting ideas. The second borders on embarrassing: an overblown melodrama complete with coincidence building upon coincidence and plot threads that are left unresolved.

The film isn't deep or thematically rich or filled with amazing characters. Instead, it's an excursion into song and dance, and works admirably on that level.

There's nothing here to appreciate for anyone who isn't a Sandler fan and, unfortunately, too little even for those who have dubbed themselves lifelong supporters.

Hard-core science fiction fans will likely greet Sunshine with a smile. Others may find this to be an odd motion picture, but there's enough going on that even those who are expecting something flashier should still be engaged.

If there is another challenger for worst entry of 2007, I don't want to see it.

Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.

Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.

For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.

It does what all good coming of age movies do, and that makes it a worthy and welcome entry into the genre.

Christian Bale continues to amaze with his ability and range.

Louder, flashier, and more hollow than anything else out there.

This movie is bad from top to bottom, front to back, and start to finish.

As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.

For parents looking to spend time in a theater with their kids or adults who want something lighter and less testosterone-oriented than the usual summer fare, Ratatouille offers a savory main course.

The strength of the screenplay and acting provide a satisfying, although not overwhelming, two hours of romance, drama, and tragedy.

Take away Bruce Willis and this is straight-to-video material.

This is the most mature horror movie of the year - far more adult and sophisticated than the tedious Hostel Part II. If you like to be creeped out by movies, this is one to see. It reminds us what it's like to be scared in a theater rather than overwhelmed by buckets of blood and gore.

Amusing in pieces but, taken as a whole, it offers little, and the morality lesson is galling.

The film is fascinating and at times disturbing, but Winterbottom's arms-length style mutes any emotional impact.

It's the kind of film that will resonate only with a tiny fraction of the available audience. Unless a viewer's age and situation mirrors that of Posey's Nora Wilder, odds are that this movie will generate a sense of déjà vu.

A tedious, incoherent bore.

An effective translation of the source material, but that's not necessarily a good thing.

There are occasional nice moments scattered throughout, but this is mostly a big, uncomfortable cartoon focused on the twisted attraction between two caricatures.

The lack of explosions and gunfire makes this an atypical summer thriller, but its breezy brand of unforced and occasionally self-referential entertainment is a lot more fun than pirates, webslingers, and green ogres.

The problem with Hostel Part II is the same flaw that afflicted Hostel: no tension.