Essentially, The Batman/Superman Movie is an action comedy, a superhero "buddy picture"...this eventful superhero adventure delivers twice the fun.

Narrative elegance and rapturous imagery highlight The Warrior...[as well as] the dark charisma of leading man Khan...and lovely vistas.

A pleasant surprise, a sprightly comedy with a dramatic aftertaste.

What starts out seeming courageous rapidly reveals itself as a narcissistic, opportunistic stunt.

With brisk energy, Baumbach finds equal parts humor and sadness in the foibles of his family.

Ghosts threaten to make matters miserable for the living, sort of like The Skeleton Key. As Peter Sarsgaard says...too convincingly, 'All I know is the checks clear.'

A sketchy horror plot slips from episode to episode with no particular momentum. As far as I can tell, Kruger made a list of scares, and Nakata ticked them off.

Not for the resolutely politically correct or the shtick-averse. For everyone else, it's the Christmas gift that keeps on giving.

Family-friendly films for girls...[usually] drip with phony commercialism and pettiness of character; by comparison, Sisterhood is not only a class-act, but a godsend.

Thoughtful and energetic....Anderson has in Ryan's story a bittersweet exemplar for the unsung toil and love of prefeminist desperate housewives...

Who would've thought...that the certifiably awful/unaccountably popular Hilary Duff was daring enough to make a movie about having a lesbian relationship with her mother?

To those who think critics are too hard on movies...I ask, can you tell the difference between a Pacifier and a School of Rock? Family films don't have to suck.

I bow to the Buddha nature of Jackson and Levy....the average moviegoer in me can see the entertainment value in The Man. Just not $9 bucks worth.

An unconventional romance...a complex crime movie, and a jaunty comedy...few will leave this stylish, adventurous film wanting for entertainment.

Just remember kids: as fun as it all seems, fast food, soda, candy, binge drinking, reckless driving, steroids, dirty ball and, well, yes, Adam Sandler movies are bad for you.

That Maybury's film avoids easy categorization (and the increasingly cheap twistiness of today's psychological horror thrillers) is one of its finest points.

Dimwitted, action-flailing mediocrity....Michael Bay...[said,] "I always say, '**** the critics'"...I'll tell you what I always say: "Michael Bay is a tool."

A second-rate morality play, with red herrings and MacGuffins shoring up a tower of Babel. Do yourself a favor and rent Death and the Maiden instead.

Zesty enough to make the ol' noir two-step seem worthwhile.

The Honeymooners, though not bad, is hardly ever good, either.

Audiences can be grateful for the unique absurdist dimensions and freewheeling irreverence of Adams, which place the film in its own category of science-fiction comedy.

Okay, so [it's] the hokiest war movie in the last 35 years....Bottom line: is the raid great? The answer is "yes," qualified by the film's unearned 132-minute running time.

Weingartner proves too ready to pat his inner rebels on their backs....[but asks] provocative questions about liberal revolt...and the effect of age on ideology.

Remember: friends don't let friends go to The Dukes of Hazzard sober.

Horror-punk, outlaw entertainment, an exploitation pic with a '70s aesthetic and endless scenarios of white-trash unpleasantness....[not for] Merchant-Ivory fans.

A bit staid in its thriller mechanics...[but] engaging in its drama, amusing in its fragments of bone-dry wit, and suspenseful in its dual mystery.

Now that Hollywood has manufactured enough Alien clones to fill a wall at Blockbuster, who needs another?

Easy to recommend but hard to love, distinguished by Gilliam's extravagant and funny style, but compromised by creative warfare and budgetary limitations.

Conceptually...The Baxter is hobbled, and all Showalter has is his concept.

Miller freely uses the unusual as an allegory for the most usual of subjects: parentage and the rocky path from childhood to adulthood.

Gilbert Gottfried's version at a Friar's Roast just after 9/11 reminds us that irony will never be dead. It's the role of comedy to test our ...boundaries of comfort.

The injury of 3D eyestrain [adds] to the insult of garish production design...[looks] like a 94—minute Saturday-morning commercial for Marshmallow Toast Crunch...

Sweet and raunchy in equal measure, which I suppose makes it the aged-to-perfection version of American Pie.

[Audiard's] hamhanded touch with the obviously symbolic plot elements results in a static accounting of polar personal themes...lacks spontaneity, authenticity, or suspense.

A conspicuously charming kids' film [but] adults who slobber over The Chorus are kidding themselves if they think it's sophisticated, realistic, or original.

A beautiful and beguiling film about love, cinema, and love of cinema...has the quirky, breezy quality of a bicycle ride by night.

Has powerful moments, mostly courtesy of the Holocaust survivors, but the interviews and narration sound overly coached, and...the film is given to repetitive overstatement.

A bloated melodrama more interested in poses than inner lives (according to some Japanese-culture-vultures, it gets the poses wrong, too).

Like the funky little shop at its heart, Going Shopping may not look like much from its exterior, but a little browsing turns up unexpected treasures.

Watts' performance is brave and jazzy, but Coffey's riffing lacks lasting impact.

Brush aside the pratfalls, cheap-shot fat jokes, and creative variety of crotch attacks, and what's left? Not a lick of emotional sense.

Plays like a giant warning to get out of town before Cheaper by the Dozen 2 opens.

[Afield] from its off-Broadway origins, but the intimacy afforded by the camera and...most of the original cast occasionally restore the emotional vitality of the piece.

Wright's ability to evoke sympathy for even the marginal characters--partly by exercising ingeniously economical staging to catch them in private moments--distinguishes this Pride & Prejudice.