Daniel Craig, in his meatiest film role to date, delivers his usual incisive performance, even if this intimate drama of contemporary Londoners pushes the boundaries of credibility.

A decidedly upbeat number, centered on a good-hearted character.

The large cast, costumed and made up as filthy scalawags and sinister buccaneers, gives tremendous energy to every scene.

The real problem is that Brugge and Haythe fail to satisfactorily pull off either the thriller or the marital deconstruction.

Although a number of the gags fall flatter than a crepe, the accent is on the charmingly juvenile as opposed to the purely puerile, with a fresh-faced cast of amiable young performers on hand to make the trek relatively painless.

Comes off as an overly jokey but often quite entertaining spoof that should please families everywhere.

The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.

Unlike "The Sixth Sense," the film's key revelation might be too mild to jolt audiences. Some may even feel cheated.

Alas, this is a remake without a reason. Alfie can no longer shock us.

At once impressive and indulgent, hypnotic and patience-inducing with its languorous rhythms. It is, in other words, decidedly not for everyone.

Director Takashi Shimizu chooses cruel psychological suspense over gore and succeeds in spinning a minimal plot into a panorama of malice.

Since the movie lacks a vision of what Alexander was really about as a man and a figure in history, it falls back all too frequently on movie spectacle.

Despite the unique premise and some truly inspired casting, the picture remains stuck in an existential rut of its own.

The film is less of a drama than a tribute -- an ode, even -- to the spirit and tenacity of firefighters. Its makers hardly bother to explore the lives or motives behind their actions.

Cheerfully disconnected from the real world, bearing a great resemblance to screwball comedies of old.

If you're going to tell a wildly implausible tale of fortune hunting and unlikely heroes, you could do worse than National Treasure.

Unlike his songs, the film holds something back. It goes deep into a life filled with as much trouble and pain as triumph and accomplishment but never quite gets at the root of who Ray is.

While visually stylish and thematically ambitious, Secret Things is ultimately more preposterous than provocative, its vague explorations of sexual and class struggle failing to coalesce in a coherent manner.

While its two credible leads are certainly up to the challenge, there's a relentless claustrophobia that prevents the film from taking on a fully dimensional life of its own.

Because the entire audience knows what's going on, the filmmakers hope to distract viewers from storytelling weaknesses with an urgent sense of style.

A complex and often compelling melodrama, at times almost verging on soap opera.

Code 46 lacks the visceral power of "28 Days Later," as well as what might be termed its "gross-out" appeal.

A teen comedy that possesses a wickedly satirical streak.

Boasts appealing leads and dazzling court play, but the film never rises above its by-the-numbers plot to generate emotional heat.

Like its various post-Cold War European locations, the film remains chilly and distant. Every time you feel like you're finally grabbing hold of something involving, the picture once again spins frustratingly out of reach.

Although A Tale of Two Sisters has some excellent suspense sequences, it falters badly during the dramatic parts.

What the film most damagingly lacks though is a sense of mystery and danger.

Devolves into a repetitive comedy that squanders a hugely talented cast.