Punctuated with bursts of explosive energy, this is a contained, cerebral film.

Given how insultingly fanboys are portrayed, even the fan base could be put off.

This war-horror movie basically plays like "Blair Witch" in Afghanistan.

Might do good business at home and abroad among audiences unconcerned with the finer points of characterization or psychological insight.

The film is still cheesy rather than deliciously scary. It never really generates sustained suspense.

Strictly old hat -- and a poorly assembled hat at that.

The camera explores each nook and cranny of the dilapidated movie-house like an usher who knows his way round blindfolded, and the building, with its richly visual interior structures desperately in need of an overhaul, comes to symbolize poetically the predicament of its inhabitants and their moral ambiguity.

The film might amuse some, especially fans of Alfred Hitchcock, but is likely to annoy almost everyone else.

Thanks to sturdy performances by holdovers Michael Sheen and Bill Nighy as well as tidy, unfussy direction by first-timer Patrick Tatopoulos, the creature designer who is taking the reins from originator Len Wiseman, the third installment in the successful franchise should be to the fan base's lycan.

A formulaic yet clever chiller that offers generous doses of sex and violence aboard a luxury yacht.

Inkheart goes crazy with fairy tale characters popping in and out, all sorts of fantastical creatures materializing and so many rescues one loses count. Yet the movie fails to involve the key constituent: the audience.

It's entertaining nonsense with major league special effects, larger-than-life characters and inventive monsters that draw on the "Aliens" and "Predator" models, being terrifying but also vaguely sympathetic.

Poetically composed, with marvelous lumps of wit and perspective, Of Times and The City is a masterwork.

2 1/2 hours of shouting, gesticulating, pratfalls and groin kicks will leave viewers with an MSG headache.

Doerrie goes beyond the "Lost in Translation" jokes about East-West culture clashes to communicate something meaningful and deep about Japanese art and thought.

It's a pretty lazy film in the creativity department save for the dogs.

The 3-D effects come fast and furious, rendered with a technical skill and humor that gives this otherwise strictly formulaic slasher picture whatever entertainment value it possesses.

For a man apparently making his first film, Woolard carries the movie like a pro. Cross your fingers that this is no fluke, for this guy could be a real comer.

Great comics from Jerry Lewis to Peter Sellers have turned pathetic into comedic. But James never seems to able to get beyond pathetic.

Never gets off its high-concept stool long enough to explore what makes weddings so exciting and nerve-racking and treacherous. It flounders instead in juvenilia and bitchiness.

The actors do what they can with the cards they're dealt but can't overcome the nakedness of the dialogue or the characters' actions. Duke does ensure that the production flows smoothly though. And those frequent injections of comedy do wonders.

What finally undoes the struggle to maintain suspense is Goyer's dialogue, which is consistently hokey.

Reygadas has hitched his austere and protracted style to an allegorical tale of subtle strength and depth.

That butting of heads, as performed by actors as strong and soulful as Craig and Schreiber, lends Defiance an emotional charge, even as the film itself struggles dramatically to find its way out of those woods.

Paced deliberately in a way that reinforces the tragedy of evil flourishing when good men do nothing, Good may find boxoffice returns slow to build but the film's aim is true and patient audiences will be well rewarded.

In "Virginia Woolf," George and Martha are locked into a symbiotic, disturbingly needy relationship that absolutely feed off their acidic battles. But for Revolutionary Road's Frank and April Wheeler, you wonder: Why don't they just get a divorce?

The chosen style of animation leads to a distracting choppiness that renders the movements, gestures and facial expressions of the interviewees unconvincing. The other problem is that, memory naturally being something that returns in fits and starts, the film is rarely able to sustain any consistent narrative thrust.

Superbly made and winningly acted by Brad Pitt in his most impressive outing to date.