The laziest LORD OF THE RINGS film. A mess.

A marginal improvement on the first film, but plagued by many of the same problems, including a greater proportion of silly, Blockbuster-y moments that undermine the mythic grandeur that the film strives to achieve.

My estimation of these films drops with each successive viewing. Jackson's direction is compelling when the camera whirls over large spaces, flying over mountains or diving into caverns, but he's lost when it comes to conversation.

Oldman's gaze is the film's greatest asset.

THE SKIN I LIVE IN is essentially a Pedro Almodovar version of a Chan-Wook Park film, but SKIN lacks Park's interest in morality. Instead, Almodovar is interested in identity, and how it relates to surfaces. But does the film have much to suggest beyond finding some particularly gruesome images to illustrate? I'm not sure.

A charming fluff piece.

Tedious and incoherent.

THE DESCENDANTS is not formally/stylistically interesting, choosing instead to place the bulk of the film's weight on the writing and performances, which are quite splendid. I have a feeling that much of what occurs in THE DESCENDANTS will be written off as "false," but judging by my own experience, the film captures the awkwardness of family tragedy better than just about any other film I've ever seen.

One of the more powerful nightmare visions of Hollywood. It's not quite in the league of SUNSET BOULEVARD--few films are--but it sure gives films like BARTON FINK and MULHOLLAND DRIVE a run for their money.

This is not a triumphant return to form for Scorsese. Scorsese doesn't make for a particularly gifted Jeunet imitator. But there are moments in HUGO that overcome the forced whimsy and trite screenplay, moments where Scorsese's love of film shines through.

Charming and funny.

The film only comes alive toward the end, about the same time that the creature does.

Gorgeous and funny.

Astonishingly terrible.

Chaney's legendary performance is nothing short of sublime; he in an actor in complete control of his body. The film itself is little more than a grand exercise in opulent spectacle, but oh, what splendor!

Schumacher's PHANTOM lacks the undercurrent of menace that runs through Hal Prince and Maria Bjornson's strikingly surreal production of Webber's musical. It's glitzy and gaudy, but never offers anything more than romance novel romanticism.

BODY DOUBLE boasts some reasonably effective suspense sequences, but it's not as stylistically striking or emotionally involving as De Palma's strongest work.

INSIDIOUS serves up some fun jump scares, but that's about all you can say for it.

A minor film, to be sure, but a charming, likable one.

SWEENEY TODD is not Burton's flashiest endeavor, so it's unfortunately likely to become something of a footnote in considerations of his career. But make no mistake, SWEENEY TODD is Burton's most focused, coherent film, and the most successful movie musical since Fosse's CABARET.

VERTIGO in Gothic clothing.

The weakest of Corman's Poe films. It sorely lacks the presence of Vincent Price.

Commendable, but it lacks energy.

Gorgeously photographed (thank you, Mr. Roeg).

The Corman Poe films, at their best, are exquisite mixtures of pulpy goodness and expressionistic cinema. PIT AND THE PENDULUM is one of the best of the bunch.

Immense.

It's drenched in excess, but that excess has its pleasures, even if Coppola's DRACULA occasionally tips over into tackiness.

One of the most confidently-directed films of Spielberg's career.

One of the weaker Spielberg films from the last decade. It has plenty of fascinating ideas, but it never congeals into something thoughtful or particularly entertaining. Even the action sequences seem sluggish.

A string of not-so-great music videos for not-so-great covers of Beatles' songs. Taymor throws everything she possibly can at the screen, but nothing sticks.