It's tough to make it through Nights in Rodanthe without wincing at its sticky-sweet sentimentality.

Aspires to be epic, but mostly it's just unfocused, sprawling and badly in need of editing.

Yes, it's not for the squeamish or easily offended, but its sordidness is more superficially shocking than wickedly satirical.

Though the lead performances are uniformly good, the film seems hazy in its focus from the start. Many of the scenes seem to simply meander.

A good-natured and engaging fantasy/romantic comedy in the tradition of "Heaven Can Wait" or even "Topper."

If Mel Brooks were to team up with Tim Burton, the result might be something like the loony and colorfully tantalizing animated film Igor.

The movie is raunchier than expected, and above all clichéd, formulaic and thoroughly sexist. Worst, it's just not very funny.

Anyone who has ever had an annoying neighbor will see their worst nightmares fulfilled in the overheated but entertaining Lakeview Terrace.

Harris is a major asset in a film that is entertaining but somewhat unfocused and occasionally badly cast.

Princess Diana's antecedent, both genetically and figuratively, was a beautiful and glamorous duchess named Georgiana Spencer. Like her descendant, her charm and vivacity captivated England.

It's consistently funny -- with witty dialogue and offbeat banter that stays in your head for days.

Defanged and drippy, the remake of 1939's The Women seems to have been made for the dullard granddaughters of the sassy, sharp society matrons in George Cukor's campy original.

By the time the movie reaches its protracted conclusion, it feels like a slog. Pacino has a few funny lines, as does Leguizamo, but not nearly enough to save the film from collapsing under the weight of its own self-righteous tedium.

The potency of the acting is also undercut by leaden pacing and a sense of claustrophobia.

Though better than most of Perry's broad comedies, The Family That Preys still suffers from excessive predictability and mawkish sentiment, which detracts from the story's believability.

Not a movie to cozy up to. The twisted tale is only mildly intriguing, worth seeing mainly for the striking performance of Jamie Bell (Billy Elliot) as Hallam Foe, a creepy teenage voyeur beset with an Oedipal complex.

Can't seem to decide whether it wants to be an edge-of-the-seat action thriller or a more contemplative and intellectual drama about religion and terrorism. Somehow, in trying to have it both ways, it doesn't completely succeed at either.

Bunny is fashioned as a bawdy comedy with heart, but its reliance on formula undercuts the amusing moments.

The saga is an undeniably heartwarming one about perseverance, hard work, and pride in community. And who could criticize that?

Elisabeth Shue has a strange role as a version of herself who has given up acting for nursing.

If you're a Rainn Wilson fan, catch a rerun of "The Office."

Don't expect the seventh Star Wars film here. Star Wars: The Clone Wars is more like a long Saturday morning cartoon.

As exhilarating, captivating and enjoyable as a summer romance in an exotic city.

The film has some amusing moments and can be intriguing when it focuses on the slow transformation of a hopeless, faithless man.

A tribute to a giant leap for mankind feels like a clumsy shuffle backward for animation.

Downey is absurdly funny.

True to its title, Elegy is a spare, meditative and melancholy film. It is a deeply affecting and profoundly observed saga about love, art, beauty and, especially, mortality.

The laughs -- mostly crude, profane and drug-addled -- are almost non-stop.