Critic consensus:Lacking the freshness of the first movie, MIB 2 recycles elements from its predecessor with mixed results.

Numbered reviews:1. While familiarity doesn't exactly breed contempt... there's not much here we haven't encountered before. And didn't it feel a whole lot fresher the first time around?
2. Men in Black II is an efficient entertainment, but it's far from inspired.
3. MIB II hits its marks reliably enough.
4. Men in Black II is just the sort of film that mainstream audiences expect to escape to during the sweltering summer months: It's just funny enough, just clever enough, and it looks just slick enough to pass inspection.
5. A lot of setup for too little payoff.
6. Whether verbal or visual, most of the few decent gags the sequel contains were already told twice in the original.
7. A good-faith attempt has been made to duplicate the original elements, but the mix is wrong, bearings have been lost, the balance is off.
8. It's not nearly as fresh or enjoyable as its predecessor, but there are enough high points to keep this from being a complete waste of time.
9. MIB II is faithful to its source film, which in turn sprang from a comic book. But this feels more like submission to formula than devotion to inspiration.
10. Harmless, forgettable, and simply uninteresting in comparison to recent action flicks like Spider-Man and Minority Report


Critic consensus:For better and for worse, Edge of Darkness offers vintage Mel Gibson, working within the familiar framework of a bloody revenge thriller.

Numbered reviews:1. It's a middling comeback, tentative, wary of much, and a fascinating portrait of a Hollywood icon doing his best to tiptoe back into the audience's good graces. And Gibson, a blue-eyed charmer to the bitter end, almost manages it.
2. An uneasy translation, and while there's an undeniably perverse pleasure in watching Gibson mow down baddies once again, the film as a whole doesn't form a narrative convincing enough to support such action cinema luxuries.
3. The showdown with Gibson almost singlehandedly saves the movie -- almost
4. Gibson, who has always been an undervalued actor, does a sturdy job as a grieving dad who still engages in conversations with his dead child; it's almost a letdown when he puts aside his mourning sickness and spirals into melodrama.
5. Gibson roots Craven in credible middle-aged fatigue as if to prove he's a truer artist than his haters claim.
6. Gibson is a credible, attractive hero, as he has always been, so if you want fast-food action, here's your movie.
7. Kill someone's only child, and what do you have? You have a righteous avenger role almost too well-suited for Gibson's persona.
8. This is easily one of the best films of Mel Gibson's career and his performance is right on target.
9. Fairly solid thriller with a strong performance from Gibson and some nice directorial touches, though die-hard fans of the TV series are advised to steer clear.
10. Edge of Darkness has earned its January release date -- this movie deserves to be dumped into theaters with little fanfare.


Critic consensus:An incomprehensible and forgettable sci-fi thriller, Ultraviolet is inept in every regard.

Numbered reviews:
1. This nearly incomprehensible guilty pleasure is actually a great deal of fun.
2. Has filmmaking really become this cynical, or is it just me?
3. The adventures of Catwoman, Elektra, Lara Croft and Aeon Flux were positively Homeric compared to this simple-minded Hi-Def tedium...
4. The real blood war is between this movie and the slightly better Aeon Flux, which Wimmer plagiarizes as freely as Equilibrium plagiarized Fahrenheit 451 and The Matrix.
5. Milla Jovovich may look hot in spandex and bangs, but if you want rapidly-cut, slow-motioned-for-emphasis spectacle AND story, take in some ESPN highlights or any production by NFL Films. At least you would be getting your money's worth.
6. a kinetic art piece of color, sound, and movement that exists somewhere between the Underworld movies and Matthew Barney's Cremaster Cycle, with just a hint of Tron thrown in.
7. Amid every action cliche in the book, outmoded stereotypes, and a plot derivative of every futuristic drama made in the last fifteen years, Ultraviolet comes off as nothing more than a pale copy of better, more inventive films.
8. This is disposable cinema, to be wiped clean from the mind as soon it's over and mercifully forgotten.
9. Ultra-dumb.
10. Jovovich, who's shown sensitivity in her dramatic work, looks spectacularly bored as she power-kicks her way through one bloody pile-up after another. That boredom, like the mystery virus at the center of the film, is contagious.