There are times, not too many, when the movie drags. But when you consider all the pitfalls avoided, and all the laughs and pleasures it provides along the way, Dark Shadows is a satisfying and skillful effort.

Fresh music and silly dialogue - those aspects of Purple Rain haven't changed over the years. [Review of re-release]

So politics and social commentary aside, we are left with a crime film. One that isn’t very suspenseful or particularly clever.

Has all the usual virtues of a good action suspense drama, but it lacks that extra something - that context, that vital interchange - that made the original "The Taking of Pelham 1 2 3" such a memorable experience in 1974.

A snapshot of the festival, one that radiates good cheer and offers moments of true, godly goodness.

A Korean film that takes an American genre and gets fancy with it.

It's a grueling 70-minute march toward the end credits.

The dialogue, heavy on sarcasm and puncturing insults, never captures the World War II period but sounds ridiculously anachronistic.

Another of those summer movies that want to pluck at our heartstrings. If it would just stop plucking for a second, it might be enjoyable.

There's a lot to appreciate in Street Kings, a tight, propulsive action thriller, but there's one thing to marvel at, and that's James Ellroy's command of story.

In a way it’s just another well-made thriller, but there are things here — currents captured, ideas frozen in time — that might make it more interesting as the years pass. For the time being, it’s good entertainment and deserves to be seen now.

One thing Yesterday does is rather miraculous. It forces us to hear these Beatles songs as if for the first time.

There’s enough variation and suspense, enough complication in the form of other characters with other concerns, that Ambulance stays fresh until the finish.

There’s not a lot of nuance or sense in the third “Purge” movie. But it still manages to coast on a combination of self-awareness, crowd-pleasing carnage and a plot that ties perfectly into current events.

Pitt isn't a bad actor, but he's way out of his depth and never disappears into the character -- a selfish rogue who gets a jolt of enlightenment at the feet of the Dalai Lama -- the way a superior actor like Daniel Day-Lewis might have.

While it plays with familiar themes, The Boogeyman is a step up from many modern mainstream horror titles. It’s a thoughtful, organic piece of filmmaking that just happens to have a monster in the middle.

Devoid of thrills, and with nothing even vaguely frightening to distract moviegoers, it becomes clear that the story wasn't worth telling in the first place.

The film will have to settle for a bogey rather than a par. Still, some hyperbole is warranted, like "Safest Movie to Take the Entire Family To."

The young actresses are superb, and they make an appealing, believable group of friends.

Hellion is so sincere and so dull that some might mistake it for a true work of art.

Told from a different angle than any other Holocaust film I've seen.

A sometimes interesting remake that doesn't compare to the brilliant original.

An arresting portrait of a fascinating and somewhat mysterious personality.

Goes disappointingly soft despite two dynamite lead performances.

Rao avoids high drama, and while there is humor, the film's tone is one of melancholy.

The only way to enjoy Kids in the Hall: Brain Candy is to savor the performances and behavior quirks, and release the notion that plot is essential.

It's marred by loaded language and a propagandistic tone that undercuts rather than promotes its purposes.

It's a complete mess, the spectacle of filmmakers blowing up their movie and everything in it, because they can't think of anything else to do.