Obviously, this sort of taboo-flouting imagery isn't for everyone, but Park's vision is all of a piece.

Enjoyable in patches, but only because of the goodwill that most of us still have toward Sandra Bullock.

The Australian actress Radha Mitchell is the only reason to see the movie: She has an extraordinary open face and a way of mixing dreaminess with sudden bursts of lacerating emotion that recalls Jessica Lange.

The visuals have so much intrinsic motion that it's too bad Robots is oppressively rollercoasterish.

A climactic twist that's among the stupidest I've ever seen-almost up there with another Costner movie, "No Way Out," and "The Life of David Gale."

Travolta keeps you grooving even when the movie's motor runs down--although it has never revved too high to begin with.

Begins too cruelly and ends too sappily but holds you somewhere between the two extremes until the semisweet finale.

The Best of Youth doesn't have a boring millisecond. It isn't an art film, with longueurs; it's a mini-series with the sweep of a classic novel, with tons of plot.

Half inspired and half eye-rollingly terrible.

Borderline incoherent, theologically unsatisfying, and short to the point of dwarfism on suspense.

Isn't as campy or as unhinged as the delightful Bailey and Barbato Tammy Faye Baker documentary, "The Eyes of Tammy Faye"; it's more like your standard HBO documentary (and HBO co-produced). But it's extremely entertaining.

It thaws the soul.

Pure and universal.

Somehow, Assisted Living jells. Maggie Riley is astoundingly convincing, and she and Bonsignore's Todd have an unforced chemistry that catches you off guard.

The movie is OK for a January horror picture, but given the premise and the cast--it should wring you out emotionally as it's scaring you witless.

Head-On doesn't sound like a lot of fun, but it keeps you on edge, laughing nervously, appalled and, against all odds, entertained.

Lousy remake.

Elektra isn't half-bad--only maybe two-fifths.

It manages to be funny and charming while capturing a lot of disturbing things about the way we live now.

This Merchant of Venice comes roaring to life--when it stops, in effect, apologizing for its terrible anti-Semitic worldview and just gives itself over to some of the most furious courtroom drama ever written.

This is one of Penn's punishing, single-dimension performances, and it seems to be even more whiningly masochistic than what's called for in the script.

The Woodsman should be pretty intolerable, but the writing-line by line-is heartfelt and probing, the direction gives the actors room to stretch out, and the performances are miraculous.

From the start the jokes are on a different level than the last one: coarse, aggressive, and poorly timed by director Jay Roach.

Made for the most excruciating two-and-a-half hours I've ever spent in a theater.

Cheadle is extraordinary.

But Cate Blanchett ... ahhhh. She doesn't impersonate Katharine Hepburn, she channels her.

Underwhelming.

Apart from Caroline Aaron's turn as Darin's overbearing sister...Beyond the Sea has nothing to recommend it.