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Clare Peploe's airless movie adaptation could use a little American Pie-like irreverence.

A woefully dull, redundant concept that bears more than a whiff of exploitation, despite Iwai's vaunted empathy.

A cutesy romantic tale with a twist.

About one in three gags in White's intermittently wise script hits its mark; the rest are padding unashamedly appropriated from the teen-exploitation playbook.

It plods along methodically, somehow under the assumption that its "dead wife communicating from beyond the grave" framework is even remotely new or interesting.

Give credit to everyone from Robinson down to the key grip that this bold move works.

Enough said, except: Film overboard!

A suffocating rape-payback horror show that hinges on the subgenre's most enabling victim ... and an ebullient affection for industrial-model meat freezers.

While we no longer possess the lack-of-attention span that we did at seventeen, we had no trouble sitting for Blade II.

A collage of clichés and a dim echo of allusions to other films.

Combine the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural -- why didn't Hollywood think of this sooner?

If Damon and Affleck attempt another Project Greenlight, next time out they might try paying less attention to the miniseries and more attention to the film it is about.

The screenplay by James Eric, James Horton and director Peter O'Fallon ... is so pat it makes your teeth hurt.

I'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment.

Not only does LeBlanc make one spectacularly ugly-looking broad, but he appears miserable throughout as he swaggers through his scenes.

An elegant work, Food of Love is as consistently engaging as it is revealing.

The pain, loneliness and insecurity of the screenwriting process are vividly and painfully brought to slovenly life in this self-deprecating, biting and witty feature written by Charlie Kaufman and his twin brother, Donald, and directed by Spike Jonze.

... a weak and ineffective ghost story without a conclusion or pay off.

If you're a fan of the series you'll love it and probably want to see it twice.

The film never finds its tone and several scenes run too long.

Suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as Dahmer demands.

It's not a motion picture; it's an utterly static picture.

It's probably not easy to make such a worthless film ...

The film is bright and flashy in all the right ways.

A brisk, reverent, and subtly different sequel.

A macabre and very stylized Swedish fillm about a modern city where all the religious and civic virtues that hold society in place are in tatters.

Does an impressive job of relating the complicated history of the war and of filling in the background.

A fascinating documentary that provides a rounded and revealing overview of this ancient holistic healing system

A cautionary tale about the folly of superficiality that is itself endlessly superficial.

Quitting, however, manages just to be depressing, as the lead actor phones in his autobiographical performance.

I did go back and check out the last 10 minutes, but these were more repulsive than the first 30 or 40 minutes.

In the end, the movie bogs down in insignificance, saying nothing about Kennedy's assassination and revealing nothing about the pathology it pretends to investigate.

it's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original.

It must be the end of the world: the best film so far this year is a franchise sequel starring Wesley Snipes.

Boomers and their kids will have a Barrie good time.

Wow.

If Disney's Cinderella proved that 'a dream is a wish your heart makes,' then Cinderella II proves that a nightmare is a wish a studio's wallet makes.

Been there, done that... a thousand times already, and better.

An infuriating film.

A film with a great premise but only a great premise.

Seagal ran out of movies years ago, and this is just the proof.

A backhanded ode to female camaraderie penned by a man who has little clue about either the nature of women or of friendship.

The fetid underbelly of fame has never looked uglier.

By halfway through this picture I was beginning to hate it, and, of course, feeling guilty for it.... Then, miracle of miracles, the movie does a flip-flop.

Soulless and -- even more damning -- virtually joyless, XXX achieves near virtuosity in its crapulence.

What the movie lacks in action it more than makes up for in drama, suspense, revenge, and romance.

Sweet Home Alabama isn't going to win any Academy Awards, but this date-night diversion will definitely win some hearts.

It's a satisfying summer blockbuster and worth a look.

A party-hearty teen flick that scalds like acid.

The movie is ... very funny as you peek at it through the fingers in front of your eyes.

While the story is better-focused than the incomprehensible Anne Rice novel it's based upon, Queen Of The Damned is a pointless, meandering celebration of the goth-vampire, tortured woe-is-me lifestyle.

Originality ain't on the menu, but there's never a dull moment in the giant spider invasion comic chiller.

Like Mike is a slight and uninventive movie: Like the exalted Michael Jordan referred to in the title, many can aspire but none can equal.

The cast, collectively a successful example of the lovable-loser protagonist, shows deft comic timing.

A grittily beautiful film that looks, sounds, and feels more like an extended, open-ended poem than a traditionally structured story.

Strangely comes off as a kingdom more mild than wild.

A few hours after you've seen it, you forget you've been to the movies.

Yet it's not quite the genre-busting film it's been hyped to be because it plays everything too safe.

The biggest problem with Roger Avary's uproar against the MPAA is that, even in all its director's cut glory, he's made a film that's barely shocking, barely interesting and most of all, barely anything.

Peralta captures, in luminous interviews and amazingly evocative film from three decades ago, the essence of the Dogtown experience.

Manages to accomplish what few sequels can -- it equals the original and in some ways even betters it.

The end result is like cold porridge with only the odd enjoyably chewy lump.

It shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there's a little girl-on-girl action.

Despite a quieter middle section, involving Aragorn's dreams of Arwen, this is even better than The Fellowship.

That such a horrible movie could have sprung from such a great one is one of the year's worst cinematic tragedies.

A fleet-footed and pleasingly upbeat family diversion.

Australian filmmaker David Flatman uses the huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them.

"Mr. Deeds" is suitable summer entertainment that offers escapism without requiring a great deal of thought.

Lame Sweet Home leaves no Southern stereotype unturned.

Rice is too pedestrian a filmmaker to bring any edge or personality to The Rising Place that would set it apart from other Deep South stories.

It's always disappointing when a documentary fails to live up to -- or offer any new insight into -- its chosen topic.

Yet another iteration of what's become one of the movies' creepiest conventions, in which the developmentally disabled are portrayed with almost supernatural powers to humble, teach and ultimately redeem their mentally "superior" friends, family...

You may be galled that you've wasted nearly two hours of your own precious life with this silly little puddle of a movie.

Mr. Scorsese's bravery and integrity in advancing this vision can hardly be underestimated.

More intellectually scary than dramatically involving.

The movie is like a year late for tapping into our reality tv obsession, and even tardier for exploiting the novelty of the "webcast."

Fun and nimble.

When the casting call for this movie went out, it must have read 'seeking anyone with acting ambition but no sense of pride or shame.'

The movie is a desperate miscalculation.

What they're doing is a matter of plumbing arrangements and mind games, of no erotic or sensuous charge.

Plays like a glossy melodrama that occasionally verges on camp.

What ultimately makes Windtalkers a disappointment is the superficial way it deals with its story.

Polanski has found the perfect material with which to address his own World War II experience in his signature style.

The main story ... is compelling enough, but it's difficult to shrug off the annoyance of that chatty fish.

The film boasts at least a few good ideas and features some decent performances, but the result is disappointing.

It's no surprise that as a director Washington demands and receives excellent performances, from himself and from newcomer Derek Luke.

If Mostly Martha is mostly unsurprising, it's still a sweet, even delectable diversion.

Top-notch action powers this romantic drama.

Roman Polanski's autobiographical gesture at redemption is better than 'Shindler's List' - it is more than merely a Holocaust movie.

An admitted egomaniac, Evans is no Hollywood villain, and yet this grating showcase almost makes you wish he'd gone the way of Don Simpson.

Confessions may not be a straightforward bio, nor does it offer much in the way of Barris' motivations, but the film is an oddly fascinating depiction of an architect of pop culture.

The inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror/action hybrid.

Takes a simple premise and carries it to unexpected heights.

'Moore is like a progressive bull in a china shop, a provocateur crashing into ideas and special-interest groups as he slaps together his own brand of liberalism.'

The film reminds me of a vastly improved Germanic version of My Big Fat Greek Wedding -- with better characters, some genuine quirkiness and at least a measure of style.

The star who helped give a spark to "Chasing Amy" and "Changing Lanes" falls flat as thinking man CIA agent Jack Ryan in this summer's new action film, "The Sum of All Fears."

A good film with a solid pedigree both in front of and, more specifically, behind the camera.

A marvelous performance by Allison Lohman as an identity-seeking foster child.

A slow-moving police-procedural thriller that takes its title all too literally.

Since Dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer, it misses a major opportunity to be truly revelatory about his psyche.