As spy thrillers go, more chilling than thrilling. But that's what makes it easy to relate to.

This isn't "Up in the Air," and we're not dealing with this awful event on a metaphysical level. But there's truth in between the cliches.

Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.

As a Steve Carell comedy, it works. He plays the victim well, the guy romantically in over his head ever better. Surrounding him with people this funny - Ryan Gosling, who knew?

The daft feather-light French farce Potiche is a period piece designed to remind us of just how far and how fast women have come in the Western world.

Audacious, violent and disquieting, Rise of the Planet of the Apes is a summer sequel that's better than it has any right to be.

Zeroing in on Carr as the movie's "hero" was a smart move. He comes off as smart, confrontational and unconventional.

Its chilling third act suggests that sooner or later, even these riders on the Islamic short bus are going to get one right. And that won't be funny at all.

Whatever small pleasure there is to be found in this loud dud is due mostly to the residual good feelings from the first film.

A sequel that delivers more heart than laughs, and is, if anything, more visually dazzling than the 2008 original film.

It isn't a great film. But it is a smart and high-minded one, wonderfully cast, with understated direction. Clooney is good enough in the lead to stir talk of a political future.

We get little sense of his interior life, what was going on in his head as school, girlfriends and music were competing for his attention and music was winning out. His drive is suggested, but never really felt in the performance.

Melodramatic, impulsive, painful, but never quite "totally unnecessary."

Somewhere is a triumph of tedium, banality passing for depth, a vacuous embrace of nothing.

Absurdly long, absurdly over the top and absurdly absurd, Five Five - still manages to be more fun than any movie with its outrageous carbon footprint has any right to be.

A thriller that makes you wish you knew how to scream "O.M.G." in Korean.

Yes, it's pretty much a must to have seen the first film. Where Dragon Tattoo felt like fall, Played with Fire was shot in the Swedish summer, which suits the faster pace, ramped up violence and fresh collection of supporting players -- cops, a kickboxer, and a couple of borderline Bond villains.

Best taken as the perfect film to transition your kids from animation to live action fare – short, sweet, and educational.

City Island is a light “family” romance that goes about as far as its novel location -- an island neighborhood tucked in the middle of New York City -- and a good cast can carry it.

Greatest Movie isn't Spurlock's best. It plays like an overlong, overly cutesy TV news report (woman and man on street interviews included) on product placement.

The fourth comic book movie of the summer is the best comic book movie of the summer. Johnston has delivered a light, clever and deftly balanced adventure picture with real lump in the throat nostalgia.

It's a sturdy World War II yarn, with harrowing and heart-breaking moments sprinkled throughout.

An awkward blend of ultra-realistic violence, boundaries-bending satire and low comedy.

The wildly improbable set-up is merely the jumping off point for an exploration of grief, guilt and redemption.

It begins with such promise, a kinky modernist twist on a classical sci-fi morality tale. That it degenerates into conventional, genre horror is all the more disappointing.

An entertaining old-fashioned prison escape movie with a touch of the epic about it.

This latest Star Trek is a well-plotted, well-acted and consistently exciting addition to the popular movie series. [6 Dec. 1991, p.21]

You have to remind yourself to breathe.