If moviegoers suspend their disbelief -- easy enough thanks to the diverse and talented cast, as well as Spielberg's capable direction -- they're bound to enjoy this cinematic fantasy.

An old-school documentary that is both non-controversial and uplifting, America's Heart & Soul could be subtitled the Anti-Fahrenheit 9/11.

Friends With Kids takes a fresh and funny look at a familiar subject, with enough buoyant romance to satisfy audiences drawn to starry-eyed love stories and hopeful endings.

The story, while sometimes soaring, is other times grounded by a hyperactive and numbing vibe. But Henry Cavill has the strapping good looks of the comic icon, and humanity to match his superheroism.

Does its share of teasing, but amounts to nothing serious.

This Christmas Carol seems like a pale ghost of Dickens' magical Christmas classic.

Nothing but set pieces, snoozes between its scenes of carnage.

Yes is more of a maybe. Or even a hmmm.

Fennell’s adaptation takes some liberties with Emily Brontë’s original 1847 Victorian-era novel but unless you’re a devout superfan, you likely won’t be too mad. The Oscar-winning British filmmaker crafts a sumptuous bad romance that’s quite haughty, darkly hilarious and ultimately heartfelt.

The Ministry of Ungentlemanly Warfare does well with its “Superman and Reacher kill Nazis” vibe before overcomplicating the matter. Yet the biggest issue with director Guy Ritchie’s World War II action comedy is it doesn’t know what kind of movie it wants to be.

If one were to fuse the literary sensibility of Jane Austen with the fanciful imaginative license of "Shakespeare in Love," what would emerge would likely be the charming tale Becoming Jane.

This is Woodstock from another perspective -- one without Jimi Hendrix or Janis Joplin.

What it became was bad. A movie that hopes to blend "Lethal Weapon" with "Gladiator" winds up not being a fraction of either.

The Brothers Bloom has it all: charming romance, jaunty adventure story, witty dialogue, gorgeous cinematography and superb performances.

The cinematography is gorgeous and the makeup amazing, but the story lines are too disconnected.

Though the film is titled Hitchcock and ostensibly centers on the legendary director, we get a better sense of the women around him than the enigmatic filmmaker.

The setting is vivid but the film is lifeless, despite many innuendos dropped about FDR's alleged infidelity.

At its best in comic mode, more effective as goofy spoof than horror show.

Unlike so many big-studio films that pass off models in horn-rimmed glasses as nerds, this little New Zealand gem embraces the inner geek and, just as effectively, celebrates misfit love.

The new Pelham takes the chilling original premise and modifies it for an era steeped in technology, making for an energetic and engrossing adaptation.

The script's clichés have nowhere to hide.

The situations are mighty broad, but exuberance counts for something in the movie with perhaps the year's most double-edged title.

Wastes a moderately intriguing premise by filling it with laughably clichéd dialogue, one-dimensional characters and implausible turns of events.

A hostage thriller, a campy satire of the 24/7 media culture and a takedown of Wall Street, though it never fully succeeds on any of those tracks.

Introduces an endearing, guitar-strumming new star in British actor Himesh Patel.

Valmont, to my surprise, isn't the best movie of Choderlos de Laclos' novel. Blame overripe material, as well as Forman's benign approach to an essentially nasty yarn. [17 Nov 1989]

Viewers should know that the film's resolution, though admirably restrained and unsentimental, is devastatingly sad. Parents should take this into account. This beautifully rendered family film is told in a classic and old-fashioned style, in the best sense, providing poignant and powerful teachable moments.

Linney remains a full-blooded character so memorable that she's worth watching - even in a less-than-memorable movie.