The film ends up relying on stating a basic situation over and over rather than developing any sort of dramatic story concerning recognizable human beings, at least until things get moving a little faster in its second hour.

Bisset is powerful as a mother who has virtually devoured her young. With her Medusa-like tresses aswirl, she is truly ferocious.

An unmitigated B-movie that isn't thrilling enough or cheesy enough to make it worth the trip.

There are several impressive scenes, but taken as a whole, the film is weighed down by significant creative and technical missteps.

David Yates, in his go at the helm, throws the emphasis on the gathering storm clouds even as Harry and his fellow wizardry students make further discoveries involving the opposite sex.

Meadows and cinematographer Natasha Braier present their story with a gritty, unfussy lyricism that finds unexpected glimpses of beauty in overlooked corners of London.

Bruno is only intermittently funny and all too often the "ambushes" of celebrities and civilians look staged. The movie is even a tad -- dare we say it? -- tedious.

Maybe Humpday needed more characters and a less claustrophobic atmosphere. Maybe the film needed to be bolder and break a few boundaries itself. Maybe it could have better explained why these two men still need to be friends. Whatever the case, it certainly needed a better payoff.

The mixed-gene pool of talent doesn't quite jell, but a saving grace is Korean sweetheart Jeon Ji-hyun.

Although the teenage audience is notoriously undiscriminating, it's hard to imagine many kids turning out for this laugh-free comedy.

While there's an awful lot to like about this infectious celebration of a remarkable event featuring some superb, larger-than-life performers at the top of their game, the enterprise comes across as a bit of a missed opportunity.

If Weather Girl were to furnish its own forecast, it would be something along the lines of "Warm and breezy before becoming overcast and muggy late in the day."

Kempner has done everything right by organizing her bountiful material into a fascinating portrait of a worthy personality and her era and touching upon related issues like the impact of the blacklist and the alchemy of celebrity.

Veteran Yucatan stage actor Hector Herrera is a delight as the suspicious old garageman who gives Juan an important lesson about letting go.

Although the movie was clearly made on the cheap, cinematography, sets and costumes belie the modest budget. No one will be thunderstruck by the insights buried in "Valentine's Day," but couples seeking romantic fluff probably will find just enough humor and heart to satisfy them.

With its echoes of the Nicole Kidman vehicle "To Die For" -- the blonde in question is a television weather-reporter with big ambitions -- the film will appeal to movie-goers who appreciate story, character and crisp dialogue.

A genuinely playful wander down memory-lane by one of France's most revered film-makers, it's sufficiently erudite and extract-packed to satisfy cinephiles but also accessible to those for whom her name rings only vague bells.

The film lacks the juice promised by the teaming of such extraordinary filmmakers with a cast as large as a Hooverville encampment.

Pretty much any sign of creative life gets left out in the cold in Ice Age: Dawn of the Dinosaurs, the monotonous, strictly by-the-numbers third edition of the wildly lucrative digitally animated franchise.

Tensely action-packed and muscularly directed by Kathryn Bigelow, this tale of an elite U.S. army bomb disposal unit in Baghdad is a familiar story in new clothes, targeted at the young male demographic.

If you're going to make a weepy, there's no reason you can't make it with intelligence and insight as the makers of My Sister's Keeper have done.

Wholly one-third of the country, some 11 million people, watched the finale. Marking's film is too astute to pretend that such fleeting things can bring about peaceful democracy, but it's also perfectly aware that they certainly can't hurt.

Actors blossom under Frears' direction. There is no false moment or off-key note in this movie.

For those wearied by cliches about poverty, rote characterizations of minorities and shocks for their own sake, best to avoid "Cracktown."

It's a powerful, shocking piece, and the denunciation of a system in which an accused woman has to prove her own innocence (while in the case of a man, his guilt has to be proven by others), is strong and clear and unforgettable.

Surveillance will please the B-movie crowd in theaters and on into the ancillaries

Although the film is a routine thriller with few surprises, it deserves attention because its topic, even eight years after Sept. 11, is one that many South Asian Americans still take very seriously.