A fun afternoon for preteen moviegoers that has just enough charm, humor and game- for-anything actors to keep parents halfway interested as well.

The Village seems poised to become as cheesy in its effects as a low-budget horror film. Shyamalan's gracefulness keeps his movie just out of that abyss.

A strange almost-thriller.

Pretty standard stuff, mixing a few truly clever moments with facile drug humor and throwaway female characters.

[Streep] isa pleasure to watch -- and to marvel at -- every second she's onscreen.

Takes its name from the king protea, the national flower of South Africa. The stunning, artichoke-like shrub may be fragrant, but the movie's pretty much a stinker.

About as awful as a film can be without being the ultimate awful, which is boring.

What the movie lacks -- a big lack, not a fatal lack -- is a compelling character at its center. Everyone in Garden State is fun, skewed, strange and singular.

Ambitious and brilliant.

An important new documentary that cites countless examples of self-censorship, under-reporting of serious issues, and -- worse than this -- deliberate neglect and outright conflicts of interest.

A heartfelt tribute to both the player and the man.

For Friday night this will do just fine. It's definitely a good matchup -- Stone's cynical bravado versus Berry's resilient spunkiness in a world-class cat fight.

To members of the Darko cult, this may not be an improvement, but it could help this compelling and extremely moving film find the audience it deserves.

With this film, we see the Zinn who has changed thousands of lives with his work.

The picture is also the story of one character in particular, Bobby, and when it comes to Bobby, A Home at the End of the World is sappy and bogus.

Hyper-violent yet emotionally powerful.

Bluntly speaking, Ju-On is anything but frightening. Ridiculous. Unbelievable. Unintentionally funny. It might as well be a parody of a horror film.

Almost everything that made "The Bourne Identity" refreshing -- the wit, the irony, the suspense, the novelty of its premise -- is gone in The Bourne Supremacy, and what's left is the spectacle of Matt Damon, with perfect posture and senses primed like a cat, making his way through a routine action thriller.

An intriguing brain-teaser.

It's not a terrible movie, just a disappointingly pleasant one.

A revelatory independent film whose moments of incredible sadness are offset by the same state of grace that blesses its astonishing title character.

First-time feature director Rashid has made a piece of eye candy that's irresistible. The point of this film may be to embrace reality, but frankly, who needs it?

Although I, Robot provokes thought, it doesn't exactly deliver thought, despite the occasional Cartesian reference to "ghosts in the machine."

Showcasing three individuals whose spiritual and physical journeys are both repellent and mundane, the film is just a long and pointless slog.

Isn't about rock music or even the people who make it; it's about people, period, and the myriad ways they mangle themselves and each other.

A good-hearted 'tween comedy hampered by uneven direction and a misguided plot twist.

Feels like an extended skit stretched and stretched, maybe not to the breaking point, but to the sagging point.

Offers a thrilling, informative history of a sport-subculture.