Individual scenes are entertaining in their own right, but the production as a whole is a lumbering mess.

Solid family entertainment, and it's better than 2006's previous tepid animated releases.

Director Michael Cuesta hits the right notes with his characters. They are believable 12-year olds: intelligent (but not too intelligent) yet naïve, and trying with mixed success to navigate the path of adolescence.

Poseidon is devoid of anything that might conjure up memories of the Winslet/DiCaprio coupling. Its straightforward action/adventure approach is both a strength and a weakness.

It's watchable, but barely.

As coming of age stories go, Wah-Wah does little to distinguish itself.

Maybe it's foolish to be disappointed by a pure popcorn movie, but as I walked out of this film, I felt it had failed in its mission of pure entertainment.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

By playing it safe, One Last Thing offers tearful interludes but not a lot more.

United 93 is powerful not only in the way it provides hope through the actions of a few unlikely heroes, but in its ability to take us back through time to a day many of us would prefer not to remember, but will never forget.

On those rare occasions when RV stumbles across a comedic moment that is legitimately funny, it drains the humor out of it by milking it dry.

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.

This movie seems better suited as cable or video fare than for theatrical viewing.

Director Clark Johnson and screenwriter George Nolfi (adapting the novel by Gerald Petievich) do an excellent job of setting things up and getting the story underway. Unfortunately, some of their hard work is undone during the movie's final third.

It packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline.

To go with the good, there's plenty of bad, and it comes in the form of countless gags that misfire, far too much flatulence and urine, and (God help us) a buck naked Leslie Nielsen. Admittedly, that scene certainly puts the "scary" in Scary Movie 4.

These are two fascinating characters, and watching them thrust and parry proves to be as impossible to turn away from as observing a grotesque roadside accident.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.

One of the year's most uninspired inspirational stories.

This film is unable to involve, entertain, or titillate. Basically, it stinks.

Robinson has assembled an impressive young cast comprised primarily of rappers (such as Tip Harris, a.k.a. T.I.) and fresh faces (newcomer Lauren London).

This is a lackluster film that exists exclusively because its predecessor made money.

Let's get this straight from the start: Slither isn't great art, but that doesn't mean it isn't good entertainment.