Catherine Hardwicke's prettified movie is a strange adaptation because it supplants the woodsy horror of the original fairy tale with two new elements: a romantic triangle and a witch hunt.

Does an admirable job of telling the stories of the obsessive Savitsky and other important Soviet artists, such as Alexander Volkov, Aleksei Rybnikov and Mikhail Kurzin.

I liked this movie, maybe more than I should have, and would be happy to see anything this director wants to do next.

It is, all in all, off its rocker. But it's gorgeous.

This is a beautiful film, full of gray-and white-haired men who grow in stature before our eyes.

Every last joke in the movie - verbal gags, visual gags, musical cues, camera moves - is crushingly literal.

For some, this sort of thinking is a much-needed revolution in human consciousness. For others, it's little more than New Age platitudes and questionable science.

A doleful melodrama. There are some intense, moving sequences, but too much emotional badgering and a general shortage of finesse.

It's all very melodramatic, but the Jouberts accompany this story with incredible visuals, with an exceptional level of access. Considering how close they get to the animals, it's a wonder none of the filmmakers got mauled.

If you can weather some slow patches (and there are plenty), this boldly original, oddly affecting meditation on the afterlife will reward you with moments of profundity that will linger in your consciousness (or subconsciousness) for a lifetime (or lifetimes).

The main thing that keeps audiences glued throughout its running time is that it's a love story, easily one of the best American love stories of the past year.

What stays with the viewer is a sense of a man unraveling from his own mistakes and weaknesses.

This is a terrible movie. It has no business being as terrible as it is, because it boasts a perfectly acceptable horror premise and a perfectly acceptable cast.

Hall Pass attempts to take the Farrellys' harsh humor and bring it into harmony with what has become the modern comic style, which is to be coarse but not absurd, to be brutally honest but real.

It's hard to decide what's worse about this feral clan residing in Brighton, England: their unspecified criminal enterprises, their penchant for bloody vengeance or their twisted family dynamic.

That irresistible thing - a movie about the making of a movie - combined with a bit of a history and a political message.

For the most part, it's fairly pleasant and interesting enough to be there.

This was obviously a labor of love for Soderbergh, and a fitting memorial to the artist.

Best reason to stay home and rent "Disturbia": I Am Number Four is a little better and makes loads more sense than "Eagle Eye." But neither has the sass and pluck of "Disturbia."

Neeson has a way of getting upset - a frantic purposefulness - that fills viewers with both empathy and anticipation: He's so miserable that we care.

It's a disappointment to see the teen pop star hop in a tour bus. This is a boy who should be traveling across rainbows on the back of a unicorn.

In addition to being funny and endearing and having a lively script and lots of nicely observed performances - is something of an education.

As weird as it sounds.

Aims to make epic drama of Algeria's battle for independence, but there are moments when you would swear you're watching a "Godfather" knockoff.

Never fails to be engrossing. That's because Soldini brings us vivid characters, and gets all the details right.

A very funny romantic comedy that nicely combines Adam Sandler's acerbic sweetness with Aniston's down-to-earth warmth.

Through it all, Tatum tries like crazy to Act. His eyes pinch. His brow scrunches. Most of all, he clenches his jaw, little creases of muscle flexing below his ears as he labors to emote.

If you were ever wondering what "Die Hard" would have been like if Neil LaBute directed it as an art film, prepare to enjoy Lovers of Hate.