Designed with Underworld fans in mind. Others need not apply.

Glory Road's strength is the way in which it blends social awareness into the sports genre.

There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

A thrill-less thriller that uses gore to obfuscate its inability to generate tension, this motion picture has the profile one might expect from a direct-to-video release.

This is one of those movies where you stay rooted in your seat just to see how bad it can really get.

The over-the-top acting is forgivable, but the plot's incoherence is not.

Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.

What happens when movie producers cross "Three's Company" with "Masterpiece Theater?" The result would be similar to what Touchstone Pictures has provided with Casanova, a farcical romantic comedy period piece.

An unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle.

The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.

There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.

A film of uncommon depth, intelligence, and sensitivity.

While Caché offers food for thought, the last third is muddled.

Much of the film's comedy feels muted; Fun with Dick and Jane isn't a lot of fun.

This is the best adult holiday film in a while.

The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.

When compared to today's visual standards for animated films, Hoodwinked is far below the curve.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.

It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.

The ideas underlying Aeon Flux's plot are the film's strength, and the filmmakers deserve some credit for doing more than paying lip service to them.

As much heralded, "edgy" movies go, Transamerica fails to live up to expectations.

This is strictly B-movie fare. It tries to do some of the same things as "Kiss Kiss Bang Bang" and suffers as a result of the comparison.

There are bad movies and annoying movies, and this one contains elements of both.

Mediocre and recommended only to those who can claim a familiarity with the play.