Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

Artificial in both its dialogue and its construction, the film only works - on those occasions when it works - because of the sincere performance by the underrated Toni Collette.

Marginally worth seeing if you're a Pacino fan but, even then, waiting for the DVD is the smart bet.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

It has all the elements one would expect from a "so bad it's good" feature: cheesy dialogue, a script that could have been written by two chimpanzees, acting that would make a high school drama teacher cringe, and lots of tight female bodies poured into tiny bikinis. Despite all of that, however, I found Into the Blue to be a real trial.

A fast-paced, engaging science fiction adventure tale.

The brilliance of Bennett's movie is that it concentrates on the characters and their interaction and never becomes a mouthpiece for one side or the other with respect to the death penalty.

The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.

The latest motion picture to take an intriguing premise and flush it into the septic tank.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

As an introduction to the story for someone with no previous exposure to Oliver Twist, Polanski's movie is adequate.

The material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.

The movie starts cheating the audience early, and never lets up.

This movie is sloppy and disjointed - an unsatisfying melodrama built upon a shaky foundation of contrivances, coincidences, and plot holes.

As animated films go, this is easily the best of a weak year.

Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.

Levy and Jackson save the day, and the film. The Man isn't great entertainment, but it contains enough laughter-provoking material to make it worth a look.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Take away the performances, and all that would be left is a cheapish B-grade motion picture.

Loud, kinetic, unflinching action.

The ending seems predestined, and the overlong, tepid journey getting to that point isn't worth the price of admission.

Only for die-hard Cho fans. Everyone else will be offended, bored, or some combination of the two.

Talky and intelligent, and never takes the cheap way out. It's also something of a downer.

Dirty Deeds boasts a passably entertaining idea that is butchered in the telling.

Eternal isn't that bad. Actually, it is. But it's kind of fun, too, in a way only cheesy exploitation films can be fun.