Wallows in bleakness and settles for sentimental gestures.

Gripping and ultimately poignant thriller.

An inane musical melodrama.

Adams does offer quite a turn: Portraying a version of Disney's Snow White, she owns the character, down to every warble and twirl.

Not a spectacular movie, but the action scenes are well shot, there's no shortage of R-rated gore and the plot moves along quickly enough to mask the fact that the whole endeavor is completely ridiculous.

Anyone can make a bad movie, but it takes a good filmmaker to make one as bad as I'm Not There.

While it's riveting throughout, The Mist is a bit bloated.

It's warm, witty and alive, with a fantastic cast and a belief in its characters that transcends its formulaic tendencies.

A lightweight and sentimental exercise that succeeds at little except maybe inspiring the viewer to go out and find a decent curry.

As for Beowulf itself, it's all about the visuals, which means that as soon as the novelty of 3-D wears off, the experience has been had.

Eventually arrives at a lovely place, but it arrives limping. Small but nagging problems drag it down, such as weird acting choices, bizarre casting and strange aging makeup.

This is Baumbach's best yet.

Helm gets huge bonus points for noticing everything that's annoying about modern children's films and including none of those things in his movie.

It isn't elegiac, but enraged. It doesn't look back with sorrow, but forward in dread. And it's made with a clear intention - to stop the Iraq war.

The character isn't just shtick, though. As Billy, Talen has staged many protests in Times Square and anti-shopping "interventions" at retailers, where the managers, to say nothing of the New York police, often have failed to see the humor - he's been arrested dozens of times.

A mess, and that's really a shame.

Feels positively Greek in its magnitude, a lament about fate, age, time and life.

This is just plain bad - and it's a surprise.

This is responsive, engaged filmmaking, the kind of movie they say Americans don't make.

Standard-issue slasher pic.

Beautifully filmed.

Might have been more effective as a documentary.

Both revealing and evasive.

A terrific documentary about forbidden love in the most heinous of places.

Ridley Scott gives it the grand treatment, 157 minutes worth, but in the end, it doesn't stack up as the portrait of an era (the 1970s, in this case) or an important tale of a criminal mastermind.

Has a few charming moments and a scene or two with legitimate hilarity, but mostly it's just mediocre.

Instructive as a portrait of activism.

One of the most direct and personal music documentaries ever made.