Splendid.

Absolutely--four out of five stars for being cuter, funnier, and, besides, the character design far exceeded my expectations.

Even if you already knew the facts, you won’' be able to help but reflect in awe at how much progress in the fight against discrimination has been made on a societal level.

Beneath its morbid exterior, Sunshine Cleaning projects a tender portrait of how people help out others and seek a better life for themselves.

McGowan’s film isn’t just about following this boy’s private quest to accomplish the impossible. It is also about how he affects the other characters in the film.

In terms of "narrative," the film keeps excellent pace, maintains your attention, and educates you on psychological ramifications of memory.

When The Namesake ends, one feels as though one has lived with the characters instead of just watching them.

Overall, I found myself not hating the film. There's just one thing that troubles me about the way Nancy Drew is depicted. She is determined, a perfectionist, uber-organized, and efficient. Those qualities can be associated to geekdom, but they’re also symptoms of someone with a propensity for disordered eating or obsessive-compulsive disorder. Hmmm.

Hathaway's exuberance and dramatic range are fitting for this portrayal of the celebrated literary figure.

The acting is unquestionably strong, the songs are integrated appropriately (functioning as both audio bridges and dramatic enhancements), and yet something is missing in how the individual pieces of the film--the story, the themes, and the violence--fit together.

Impressively stays away from the cheese and the sap that ordinarily accompany holiday pictures.

For Carmen, Tibby, Lena, and Bridget, their sisterhood shines even brighter the second time around.

So think of it this way: Miracle at St. Anna is a Spike Lee joint that possesses a European texture in the vein of Guillermo Del Toro and Jean Pierre-Jeunet. Imaginative, thought-provoking, and intense.

I'd like to recognize Russell Gewirtz for a screenplay that boasts humor, an impressive plot twist, and for setting up plenty of room for De Niro and Pacino to get their grooves back in order.

Two-and-a-half hours of family bickering, bantering, and pummeling can be draining for the viewer, particularly when many of the characters are easy to dislike.

A chick flick in the purest sense--it's not about men or falling in love--and is quite funny.

A little bit of screwball comedy and a lot of film noir, add a dash of suspense-drama, and half a dozen card tricks too, then you have the recipe for making The Brothers Bloom.

Oddly engaging and has me wishing I could spend a week observing Jeannie, Lauren, and Merrill...you know, without a camera as a mediator.

Neither hater nor admirer, I still get wrapped up in his (Owen) mannerisms and emerald stare.

A horror film that scares you to insomnia is good in the sense that it succeeds in what it sets out to do.

The cast is genuine in their emotions, the film depicts them that way, and the camera doesn’t feel compelled to go hand-held crazy--which is refreshing.

As a matter of fact, Initial D is an anti-car racing film. It's not about thrills; it's about how to perfect the art of drifting, philosophy, and how to transcend the human condition.

House definitely put a smile on an insider's face, but outsiders can enjoy the ATL too. The only prerequisite here is the ability to laugh.

Peretz's film continuously subverts the audience's expectations of what should likely happen given genre conventions.

A brilliant exploration into the implications of Freud’s theories on one family.

Isn't a bad film per se--it’s just an empty film.

I generally wince at the thought of a foreign film receiving a Hollywood do-over, but No Reservations satisfactorily Americanizes its German predecessor by taking an originally more serious story and adding to it a lighter, more comedic tone.

An amusing and timely distraction.

The Bank Job secures the viewer’s attention pretty quickly and does not relinquish that hold for a second.

Whether you’re a casual or an ardent follower of M. Night Shyamalan's films, The Happening could alienate or dominate your thinking cap. Remember--it's perfectly acceptable to laugh one second and shriek the next.

To be sure, The Love Guru is incredibly funny. Side-splitting laughter only stops when the movie does, so don't expect it to linger all the way to the parking lot.

For most of the film's 104 minutes, the characters have experiences that range from serious to zany. Although I can't formulate a better resolution to the narrative conflicts, I Love You, Man ends on a note that is too cute and conventional to accept.

Funny and well-acted, but it’s just shy of being compelling enough to be remembered.

Conveys a much louder political message and the implementation of violence reflects as much.

One of the oddest and surely the longest cinematic experiences you may ever encounter.

If you have nothing more stimulating to do on a Friday night, Underclassman could provide the entertainment--not enlightenment--you seek.

When a film is more conducive to a scholarly dissection than a consumerist examination, the film is incredibly clever, pragmatic, or pretentious. In the case of Domino, it's all of the above.

What prevents Hostel from fully harnessing the suspense factor in its rising action, climax, and conflict resolution is the insufficient impetus to pity or to feel too badly for Paxton and Josh.

As much as you'd like the characters to become better people and beat Jigsaw's game, there is also a strong desire simply to watch violent spectacle. And somehow, there just isn't enough of the latter.

Evening”has so much going for it. A great cast, amazing visuals, and solid directing throughout. So why did I leave the film saying aloud to the parking lot, "I didn't like it."

It’s mostly eighty-four minutes of puns, double entendres, and Freudian slips.

The major weakness in Jumper is the piling on of action and narrative in the last ten to twelve minutes. It's as though the editor was rushing to meet a deadline and did the best he could with too much footage.

As a guilty pleasure, it’s spectacularly entertaining

Packs a full plate of gasps and giggles.

Provides mostly entertaining spectacle.

Coupled with decent acting but average cinematography and editing, Not Easily Broken hums more fittingly to the tune of a LifeTime television event.

The Collector’s destructive behavior enters the realm of the ridiculous before it ever touches the land of evil-badassness.

Although it looks cool, appearances aren’t everything.

Fails as a sequel because we’re not in the 90s anymore. Gone are the days when characters could answer questions with questions and hypothetical situations and still sound clever and cool.

I didn't hate this film. I didn't find it to be a waste of time or brain waves. Given the reasons I saw the film, I suppose I'm 50% disappointed.

As easy as it is to pass down mantras of fear and hate from parent to child or society to community (and individual), so is the imprinting of courage and compassion through conversation, emulation, books, plays, films, and the like. The Tale of Despereaux, aims to share such a message.

Alyssa Milano is a delight, but her ten to thirteen minutes of screen-time mark her as more of a distraction than substantiation.