It's an entertaining movie, which is half the game, but it's not scary, which it should be. Neither is it something to be taken seriously, though it's intended to be.

Embraces its identity as a sci-fi-summer-action-blockbuster extravaganza. Along the way, it actually comes close to finding the balance that Lee was looking for.

This is the portrait of a marriage as full and enviable as the greatest unions in literature.

The best way to take this film is with a box of popcorn and a grain of salt.

Quid Pro Quo, billed as a "neo-noir" about a paraplegic journalist drawn into a shadowy world of disability fetishists, is choked by allegory and pretension. It's an O. Henry tale gone wrong.

We're compelled to admire these athletes because, despite their obvious skill, they are in constant danger.

An enjoyable example of this extraordinary director's documentary work.

I'm going to go out on a limb here and say that this is probably the best movie so far this year about a kung-fu fighting panda.

Serious intent may be lurking somewhere in there, but it's buried under layers of stupidity - not just stupid jokes, which is what you want from Sandler, but also stupid, shallow thinking.

In general the film is so impressive that we can't leave the theater without wanting more.

Aside from being vile and repellent, it's mainly dull - old-fashioned in its shock tactics and culminating in a ho-hum climax.

Isn't quite as boring as it sounds, thanks to writer/director Steve Conrad's strong script and decent performances by John C. Reilly and Seann William Scott.

A smart, funny and edifying documentary.

The result is a comedy that's low budget in all the right ways - so hilarious, testosterone-charged and yet cringe-inducing to watch that the result is almost exhausting.

An unbroken flow of sad or nasty incidents.

The best American movie about women so far this year, and probably the best that will be made this year.

Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.

The movie's one flaw is this: The whole movie hangs on the gradual unraveling of the central mystery and is made with the expectation that the audience is fascinated and hanging on every tidbit.

At its best, Gordon's work is bracing and pointed, though it's not for the queasy.

You can be 100 percent in favor of rescuing adorable orphans from war-torn zones and still find The Children of Huang Shi a tough haul.

Misfires so severely that even the clever details get obliterated in the resulting mess.

Not only less than horrible, but actually occasionally enjoyable.

The movie moves. It has action sequences that are so enormous that they won't just wow audiences, but rock them back in their seats and make them laugh at the audacity of it all.

The experience of seeing this film is cumulative, sober and profound.

Often fascinating and provocative, although, as a film, it feels a bit long and somewhat repetitive.

Exactly one minute longer than its predecessor, but it's a dragged-out exercise, with no epic scale and no spirit worth talking about.

Reprise has a smart and knowing script and will compel audiences to reflect on themselves at that age.

Unfortunately the movie is also a bit too long, and for long stretches it's about as entertaining as, well, a long stretch. Still, if this were one of those movie-review TV shows, I'd have to give Lion's Den a (tiny) thumb's up, for its aura of authenticity and for the ferocity of Gusman's commitment.