The writing here is truly dismal.

There's no question where filmmaker Jonathan Nossiter's sympathy lies, but he makes his case leisurely, without hysteria and with much playful screen time devoted to the various interviewees' pet dogs.

A sweet if bland film.

The film is a dud in the tradition of such weak horror sequels as "Exorcist II" and "Dracula's Dog."

tTere are two things going for Melinda and Melinda: Woody's not in it and Radha Mitchell is.

It's part Jules Verne arms-race nightmare, part James Bond gadget war and part boy's own adventure.

There's a gripping thriller between the gaps in logic. Director Florent Siri has a tough style and an unforgiving attitude, but it drowns in the queasy blood lust.

There are a lot of terrific creative energies at play in Robots and they overcome an overreliance on amusement park sensibilities in the animated adventure.

The film never earns the irony of the title or offers anything profound in its observations of fractured family dynamics in an atmosphere of lingering resentment, but Allen and Costner enrich and elevate the film and give the growth of their characters a hard-earned gravitas.

The film is thriller, comedy and rite-of-passage story, but Boyle never loses sight of what's at its core.

Ends badly, with a clumsy, nihilistic coda that leaves one uncertain how to feel about the story, confused as to what point has been made and not at all convinced that the new South Africa will be that much different from the old one.

It's well-written, well-cast and skillfully directed in every scene, and, at the same time, it doesn't come together with enough impact to be hugely memorable.

John Travolta is nothing if not cool as Chili Palmer.

Maybury's attempt at a more mainstream movie is really just a simple love story cloaked in a lot of metaphysical mumbo-jumbo.

Ultimately this soppy Pacifier sucks.

The film tugs at us. And we forgive it its faults because it never loses sight of what it's supposed to be even though the story has a manipulative edge and maneuvers our feelings.

The ironies and contradictions that give the first half a dark humor give way to gravity and respect as soldiers are killed (off camera).

Genuinely funny and sweet, the film's "everybody wins" philosophy resonates beyond the feel-good surfaces.

Despite its flaws, Walk on Water is a sometimes engaging story of emotional opposites who become mystifyingly attracted to each other.

Giordana's redemptive vision provides a sense of discovery and a well of hope in the most devastating of troubles, and beautiful surprises in love, friendship and family.

The movie has a soul, and its good-natured charm may well win over the most cynical heart.

It's a methodical, friendly fairy tale in which everyone is good and the outcome is a given.

It's inconsistent and it fudges the script's murkier details, but Lawrence keeps the story on track and doesn't cheat the world of Constantine."

A harried, screechy film that goes nowhere at a breakneck pace, full of sound and furious slapstick overkill but devoid of wit.

Uncompromising, unpleasant and emotionally brutal, this twisted love story of emotional bondage is oddly compelling.

It's a bracing reminder that before Hitler took power, it was handed to him. The lesson resonates long after the credits roll.

It's the warmest, most generous portrait of American hospitality you've seen from a European movie in some time.

A well-made but harrowing and extremely downbeat coming-of-age drama.