
‘Colombiana’ movie review: Zoe Saldana in cartel revenge thriller
Olivier Megaton’s Colombiana feels like a cross-breed between Luc Besson’s La Femme Nikita and Leon: The Professional

Olivier Megaton’s Colombiana feels like a cross-breed between Luc Besson’s La Femme Nikita and Leon: The Professional

Don’t Be Afraid of the Dark is a creepy and atmospheric Old Dark House thriller, a remake of the cult 1973 TV movie

There is, surprisingly, a lot to like in Green Lantern, a CGI-infused adaptation of the DC comic

Cars 2, a sequel to one of Pixar’s less memorable features, is the studio’s first outright dud

The Mechanic is slick, polished entertainment; Simon West is a proficient technician, and the action scenes are competently handled

After nearly two hours of Transformers: Dark of the Moon, director Michael Bay finally delivers the utter annihilation of downtown Chicago

There are a lot of endearing qualities in Paul, a spoofy alien comedy that parodies ComiCon culture and pop sci-fi

Pirates of the Caribbean: On Stranger Tides is more or less the same film as the previous three Pirates outings

Mr. Nice celebrates Howard Marks, the Welsh cannabis smuggler who was said to have controlled 10% of the world’s hashish trade

Loe and Other Drugs is cookie-cutter rom-com junk food complete with wildly inappropriate happy ending

Wes Craven’s My Soul to Take is an entirely watchable – but by no means remarkable – teen slasher film mixed with Scooby Doo mystery

Drive Angry knows exactly what it is and delivers all the violence, sex, action, and attitude that we could expect

The Adjustment Bureau is clean and competently made, centered around an intriguing Philip K. Dick premise

The Tourist is a refined but lighthearted, Hitchcock-influenced thriller, which explicitly recalls North by Northwest and To Catch a Thief

The Switch has been sold to unsuspecting audiences as a romantic comedy, but it’s neither romantic nor funny

Harry Potter by way of Ingmar Bergman: Deathly Hallows: Part 1 is rich and vibrant, dark yet sensitive

Devil, produced and written by M. Night Shyamalan, is Agatha Christie’s And Then There Were None on an elevator

Red is a perfect little timewaster, slick and polished and packed with enough outlandish action to overcome the frequent exposition lulls

Scott Pilgrim vs. the World boasts an exhilarating visual style and inventive cinematic language: this is fresh, this is new

In Wall Street: Money Never Sleeps, Gordon Gekko is no longer a villain, not even an antihero, but the wise and heroic mentor

Resident Evil: Afterlife is a strange, strange film; dull and lifeless despite (and even during) frequent slo-mo action sequences

2010’s The Karate Kid is competently made and executed, with charismatic lead performances by Jackie Chan and Jaden Smith

The problem with The Sorcerer’s Apprentice is the use of magic: every other scene features wizards casting spells at each other

The Expendables is the 2010 equivalent of a 1985 Golan-Globus production, a Delta Force or Missing in Action or Cobra