Precious and uninsightful but ends beautifully.

Highly entertaining, in a schadenfreude sense, but incomplete.

An enchanting, beautiful and brilliantly imagined film.

The movie is rich with music and more than a few moments of painful exaltation.

No new moment in here for rap fans or anyone else.

Fascinating context but awkwardly told.

The film's ambitions are laudable, and it manages to be touching, funny and true to life. It seems ungrateful to ask for anything more.

Where Caine was like an arsonist in his relationships, Law's Alfie is more like a kid playing with matches -- innocent and genuinely surprised when things start blowing up around him. Law makes Alfie's befuddlement a surprisingly poignant thing to witness.

The visual and emotional hues are darker [than previous Pixar films], and the focus rests more on middle age than coming of age. The adventures of a family of superheroes are likely to thrill and amuse children, but the film's more grown-up themes might go over their heads.

A must-see for anyone still coming to terms with the chaos in Iraq.

Haunting case study of a romantic obsession.

Begins like a penetrating exploration of love, grief and suffering and ends looking like a highbrow version of "Bride of Chucky."

The slasher scenes, though relatively few, are amazingly evocative for such a low-budget movie.

Foxx's complex performance and the filmmaker's willingness to look at the dark side place Ray safely out of the realm of typical Hollywood hagiography.

Payne's little marvel.

By the time audience members start to get the joke, the film is already over.

Loses momentum midway into the boys' journey.

The unnerving brilliance of the film owes to the director's skill at assembling information and allowing it to speak for itself.

Hard, ugly and nasty yet a stylistically vigorous and often insightful piece of work.

The end result is something like the best blues festival anyone could have thrown last year, although Lightning in a Bottle falls a fair piece short of its own lofty goal.

Dreamy and deliberate.

The film presents a compelling portrait of mental illness, but looking at Bale may make audiences feel as though they're watching a documentary.

Shimizu can't quite pull everything together, trying to get off easy with a bargain-bin twist ending that most of the audience will see coming by the time the pile of corpses reaches double digits.

Everything about it is manufactured -- the emotions are false, the sentiments are phony, and the story is a construction of mirthless silliness. It's a product, not a creative expression.

Annoying, soporific and singularly humorless.

Goes disappointingly soft despite two dynamite lead performances.

So fascinating and has so many implications that it balances out some real flaws in the story.

Not always pleasant to watch.