"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.

A tender movie about a poignant and difficult subject.

Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.

A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.

The result is a mature and challenging motion picture, and something that will stick with viewers after the screen has gone dark.

There are stretches when it becomes tedious and insufferably self important. There's even a late scene in which the movie turns preachy.

The ineptitude of the movie's drama is matched only by the failure of its humor.

This isn't a bad movie; it's watchable but the direction in which the filmmakers choose to take it results in a vague sense of dissatisfaction.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

For the most part, this movie hits the right notes and gives its audience a dose of white-knuckle tension.

Gruesomely engaging.

Enjoyable for a movie in which pretty much nothing happens.

A movie so inane that it fails to rise to the level of "good trash."

A nice little mystery thriller that takes a wrong turn on the way to its climax and morphs into a slasher movie.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

As a movie, The Hoax isn't a fraud but it's not the real deal, either.

It's hard to say what is more responsible for the film's utter failure: Hopkins direction, the editing, or the screenplay. The result is such a muddle that one assumes each aspect deserves part of the blame.

Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.

The movie's central flaw: it's not funny enough to be worth the price of admission.

The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.

Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

Shooter does what any good thriller should accomplish - it thrills. It's fast-paced, energetic, and doesn't follow a path that seems pre-ordained from the beginning.

After this disgrace, it's time to shut the hills' eyes for good.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

Pride has little to be proud about.

It's tough to make a good tearjerker - one need look no further than this misfire to understand why.