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Kate Beckinsale’s career once looked promising, but her willingness to take paycheck jobs like Whiteout isn’t helping her career. Was she so blinded by the story that she couldn’t see how disastrous the final result would be?

The only good thing about this sequel is that we don’t have to listen to Rosanna Arquette’s whiny French accent (she was in the original). So, unless you think “The Three Stooges” meets Martha Stewart meets “The Godfather” is a riot, you may want to do the 50-yard dash from this one.

This film’s poster shows a little girl with demonic eyes superimposed on a decomposing headshot of Nicolas Cage, made to look as if his face is being eaten by honey. This, like the trailer, tells us we’re going to watch a horror movie. Instead, it’s more of a thriller. But oh, how I wish I could say that I was thrilled.

Wild Hogs is the story of four guys trying to escape from suburbia. In what’s essentially a less sophisticated City Slickers meets Easy Rider, it doesn’t take long for the humor to make its way directly to the slop bucket.

Kids will be entertained by this movie because of the colorful animation, great songs and loud characters -- but watch out for the gross humor.

Like its recent Disney predecessor (“Chicken Little”), “The Wild” is a fun movie with weighty themes. The writers are not afraid to tackle relevant issues like the crucial influence of the father in a child’s life and the need for honest family communication.

While "Wimbledon" serves a light-hearted look inside the world’s best tennis tournament, we don’t see its underbelly. But we do hear what a player might be thinking as he serves, volleys and races to the net. And, we also get an inkling about just how nervous players really are, even when they appear as cool as Wimbledon’s trademark strawberries and cream.

Win Win is an engaging slice-of-life dramedy about compromises and sacrifices, and how the former can compromise the latter.

Depicting the lives of the rural poor facing dire circumstances, Winter's Bone is not a pretty picture. Yet it is an artful film with a harrowing ending that delivers a punch to the gut that, unlike the effect of mainstream summer movies, lingers long after the closing credits.

With so much going for it, The Wolfman should offer a moody atmosphere, a few good scares and actors who set the right tone for the material. But it turns out the new film is merely "inspired by" the earlier Wolfman—but doesn't exhibit much inspiration at all.

The Woman in Black, Daniel Radcliffe’s first starring role since the Harry Potter films, offers few moments of genuine fright.

If it wasn’t for the success of the recent Sex and the City on the big screen, chances are The Women, a remake of the 1939 classic that’s been in the works for over a decade, probably wouldn’t be playing at a theater near you as we speak.

As timely and noble as the issue of educational reform is, this treatment is too simplistic and needlessly political with its approach.

"Wordplay," the new film documenting New York Times crossword puzzle-meister Will Shortz and the annual crossword competition he founded, provides object lessons in fair play, vocational calling and, well, oddness. For it takes a certain type of person to knock out a Times crossword in two minutes and two seconds.

Wants to deliver a moral about choosing real life over living a lie, but the point comes across as tepid rather than deeply resonant.

Immediately following September 11, 2001, it was difficult to imagine how filmmakers might render the event in years to come. Would they bring their own agendas to the films or let the historic events largely speak for themselves? Now, director Oliver Stone delivers "World Trade Center" a survivors’ story, full of hope and the belief that God and family can sustain us in the most dire of circumstances.

This sequel is much improved over its abysmal predecessor, but fails to generate enough human interest to make it worth seeing.