Question: 1. Occasionally a film comes along that isn't very good but still rates a look-see because it taps into the zeitgeist.
2. Delivers 81 snappy minutes of thrills.
3. Any less of a charismatic leading actor and this film would have been dead within the first 15 minutes.
4. Phone Booth is a taut psychological thriller about a scary encounter between a vigilante sniper and a self-centered publicity agent who is brought face-to-face with his sins of spin.
5. The film is also an unusual marriage of two utterly different cinematic sensibilities, that of Schumacher the director, and Larry Cohen, the writer.
6. A tense, thought-provoking drama.
7. Despite the film's blessed brevity -- it's only 75 minutes -- it seems as artificially padded as a Reno showgirl.
8. Schumacher tightens the screws for just long enough -- 80 minutes, including credits - to provide a bundle of fast thrills.
9. A high-concept hostage drama of absolutely no value to anyone -- except maybe Bell Atlantic, whose titular street-corner pay phone is on screen for almost every agonizing frame.
10. Loud and frantic and filled with all sorts of business, but it's also empty and inert, a creative exercise that would have played better as a 30-minute short.
Quick pacing and Farrell's performance help make Phone Booth a tense nail-biter.

1. By the end, you'll wonder why all films aren't made this way.
2. A production that is as sexually charged as it is beautifully designed.
3. Maddin's Dracula takes us fantastically through gothic places that Bram Stoker failed to report in a production that is as sexually charged as it is beautifully designed.
4. Marries B&W silent horror-movie style with beautifully eerie ballet in a succulently cinematic, lustfully melodramatic adaptation that is at once wholly unique and uncommonly faithful to Bram Stoker's classic novel.
5. ... the most startlingly original and creative reading of the novel ever put to film.
6. Though it sounds like an offbeat idea even for horror fans, the tech work is so well done that it could disarm unwary buffs attracted by the campy title.
7. An elaborate, self-conscious but arresting take on the Dracula myth.
8. A fevered, sexy take on the material, it plays up the desires of the female players, the repression of the men and Dracula's status as all-purpose object of dread and desire.
9. Anybody whoâ(TM)s willing to bring their own ideas about sex, love, and bloodletting to the film will likely find themselves sucked into Maddinâ(TM)s growing cult.
10. It's a throwback to the days when horror movies often had a certain visual grandeur. And while one may miss a modern frisson or two, there's still a great deal of dreadful beauty to relish.
Guy Maddin's film is a richly sensuous and dreamy interpretation of Dracula that reinvigorates the genre.

1. This first American horror effort by the Pang Bros. doesn't deliver.
2. The plethora of horror movie cliches -- even those still residually effective -- weigh so heavily in The Messengers that whatever moments of terror that might have been had are left positively weightless.
3. The objective view gives the audience too much room to unravel its schematic plot, which is far less inspired than its creepy visuals.
4. The Messengers isn't a particularly frightening or gory horror movie, but directors Danny and Oxide Pang do have a special talent for torturing the reputations of their actors.
5. And what crop is Dylan growing, you ask? Sunflowers. Yes, sunflowers. Agriculture's baby-step from farming dandelions. Why not just harvest weeds?
6. Scary awful. It's a new genre I just made up.
7. Just another craptacular exercise in weak PG-13 horror involving resourceful-but-stupid teens, idiotic adults and ghostly apparitions with short pants, pale skin and stringy hair.
8. The message of this creepy-ghost thriller is that no matter how talented the Hong Kong filmmakers may be, they'll invariably be forced to make their first American movie an unimpressive, generic creepy-ghost thriller.
9. The Pangs keep it moving and deliver the 'gotcha!' moments, but a steady diet of mechanical scares is thin stuff.
10. The Pangs painfully hew to a vision of an idealized Americana with the 'happy ending' coming off as especially egregious.
The Messengers is an atmospheric but derivative rip-off of countless other horror movies.

1. Near on par with the original...A real surprise package
2. While Salvation certainly isn't as bad as that first sequel, it still doesn't come near the sheer coolness of the first one.
3. Although I wouldn't quite go so far as to recommend it, the movie does have a terrific look and some intriguing, albeit overly dramatic, acting.
4. Should they go back and make yet another Crow film, I suggest that they consider adding some originality.
5. A pleasingly low-budget demeanor.
6. Plenty of bad dialogue, zero originality or depth.

Answer: The Crow: Salvation adds nothing new to the series and is plagued by bad acting and dialogue.