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More busy than exciting, more frantic than involving, more chaotic than entertaining.

Although...visually striking and slickly staged, it's also cold,grey, antiseptic and emotionally desiccated.

Though in some ways similar to Catherine Breillat's Fat Girl, Rain is the far superior film.

You leave feeling like you've endured a long workout without your pulse ever racing.

One-sided documentary offers simplistic explanations to a very complex situation.

Instead, it'll only put you to sleep.

The only way to tolerate this insipid, brutally clueless film might be with a large dose of painkillers.

A sensitive and astute first feature by Anne-Sophie Birot.

The comedy is nonexistent.

A real winner -- smart, funny, subtle, and resonant.

... comes alive only when it switches gears to the sentimental.

An instance of an old dog not only learning but inventing a remarkable new trick.

Romantic, riveting and handsomely animated.

Try as you might to scrutinize the ethics of Kaufman's approach, somehow it all comes together to create a very compelling, sensitive, intelligent and almost cohesive piece of film entertainment.

every once in a while, a movie will come along that turns me into that annoying specimen of humanity that I usually dread encountering the most - The Fanboy

Spreads itself too thin, leaving these actors, as well as the members of the commune, short of profound characterizations

The acting, for the most part, is terrific, although the actors must struggle with the fact that they're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans.

(Less a movie than) an appalling, odoriferous thing... so rotten in almost every single facet of production that you'll want to crawl up your own *** in embarrassment.

Funny and touching.

An awkward hybrid of genres that just doesn't work.

Affirms the gifts of all involved, starting with Spielberg and going right through the ranks of the players -- on-camera and off -- that he brings together.

A fifty car pileup of cliches.

Will warm your heart without making you feel guilty about it.

One of the most unpleasant things the studio has ever produced.

A glib but bouncy bit of sixties-style slickness in which the hero might wind up caught but the audience gets pure escapism.

This one is not nearly as dreadful as expected.

The result is a powerful, naturally dramatic piece of low-budget filmmaking.

As a science fiction movie, "Minority Report" astounds.

Doesn't deliver a great story, nor is the action as gripping as in past Seagal films.

Chilling in its objective portrait of dreary, lost twenty-first century America.

The auteur's ear for the way fears and slights are telegraphed in the most blithe exchanges gives the film its lingering tug.

A rehash of every gangster movie from the past decade.

Shattering, devastating documentary on two maladjusted teens in a downward narcotized spiral.

The somber pacing and lack of dramatic fireworks make Green Dragon seem more like medicine than entertainment.

Below is well below expectations.

A generic international version of a typical American horror film.

Includes too much obvious padding.

At just over an hour, Home Movie will leave you wanting more, not to mention leaving you with some laughs and a smile on your face.

The movie's ultimate point -- that everyone should be themselves -- is trite, but the screenwriter and director Michel Gondry restate it to the point of ridiculousness.

A fine documentary can be distinguished from a mediocre one by the better film's ability to make its subject interesting to those who aren't part of its supposed target audience.

In the wake of Saving Private Ryan, Black Hawk Down and We Were Soldiers, you are likely to be as heartily sick of mayhem as Cage's war-weary marine.

Peppered with witty dialogue and inventive moments.

-- is a crime that should be punishable by chainsaw.

Whether or not you're enlightened by any of Derrida's lectures on "the other" and "the self," Derrida is an undeniably fascinating and playful fellow.

The people in Jessica are so recognizable and true that, as in real life, we're never sure how things will work out.

Parents may even find that it goes by quickly, because it has some of the funniest jokes of any movie this year, including those intended for adults.

A good music documentary, probably one of the best since The Last Waltz.

(Gulpilil) is a commanding screen presence, and his character's abundant humanism makes him the film's moral compass.

The screenplay never lets us forget that Bourne was once an amoral assassin just like the ones who are pursuing him ... There is never really a true "us" versus "them".

An interesting look behind the scenes of Chicago-based rock group Wilco...

The sword fighting is well done and Auteuil is a goofy pleasure.

The only thing scary about feardotcom is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie.

Munch's screenplay is tenderly observant of his characters.

It has the requisite faux-urban vibe and hotter-two-years-ago rap and R&B names and references.

The Country Bears wastes an exceptionally good idea.

A film of epic scale with an intimate feeling, a saga of the ups and downs of friendships.

The movie would seem less of a trifle if Ms. Sugarman followed through on her defiance of the saccharine.

Mention "Solaris" five years from now and I'm sure those who saw it will have an opinion to share.

That 'Alabama' manages to be pleasant in spite of its predictability and occasional slowness is due primarily to the perkiness of Witherspoon (who is always a joy to watch, even when her material is not first-rate)...

Pacino is the best he's been in years and Keener is marvelous.

Much of the cast is stiff or just plain bad.

It's excessively quirky and a little underconfident in its delivery, but otherwise this is the best 'old neighborhood' project since Christopher Walken kinda romanced Cyndi Lauper in The Opportunists.

Busy urban comedy is clearly not Zhang's forte, his directorial touch is neither light nor magical enough to bring off this kind of whimsy.

Imagine the CleanFlicks version of 'Love Story,' with Ali MacGraw's profanities replaced by romance-novel platitudes.

Extremely well acted by the four primary actors, this is a seriously intended movie that is not easily forgotten.

Bound to appeal to women looking for a howlingly trashy time.

Ms. Hutchins is talented enough and charismatic enough to make us care about Zelda's ultimate fate.

Such a fine idea for a film, and such a stultifying, lifeless execution.

Return to Neverland manages to straddle the line between another classic for the company and just another run-of-the-mill Disney sequel intended for the home video market.

Writer-director David Jacobson and his star, Jeremy Renner, have made a remarkable film that explores the monster's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted.

Drama of temptation, salvation and good intentions is a thoughtful examination of faith, love and power.

Oddly compelling.

Feels at times like a giant commercial for Universal Studios, where much of the action takes place.

A small fortune in salaries and stunt cars might have been saved if the director, Tom Dey, had spliced together bits and pieces of Midnight Run and 48 Hours (and, for that matter, Shrek).

Strange, funny, twisted, brilliant and macabre.

Shanghai Ghetto, much stranger than any fiction, brings this unknown slice of history affectingly to life.

A movie that will thrill you, touch you and make you laugh as well.

Though overall an overwhelmingly positive portrayal, the film doesn't ignore the more problematic aspects of Brown's life.

The film is so busy making reference to other films and trying to be other films that it fails to have a heart, mind or humor of its own.

Cool gadgets and creatures keep this fresh.

This is very much of a mixed bag, with enough negatives to outweigh the positives.

Ringu is a disaster of a story, full of holes and completely lacking in chills.

While maintaining the appearance of clinical objectivity, this sad, occasionally horrifying but often inspiring film is among Wiseman's warmest.

But it would be better to wait for the video.

Dreary tale of middle-class angst

Though the aboriginal aspect lends the ending an extraordinary poignancy, and the story itself could be played out in any working class community in the nation.

The byplay and bickering between the now spy-savvy siblings, Carmen (Vega) and Juni (Sabara) Cortez, anchor the film in a very real and amusing give-and-take.

It's sweet, funny, charming, and completely delightful.

Seen in that light, Moonlight Mile should strike a nerve in many.

To the filmmakers, Ivan is a prince of a fellow, but he comes across as shallow and glib though not mean-spirited, and there's no indication that he's been responsible for putting together any movies of particular value or merit.

The movie's something-borrowed construction feels less the product of loving, well integrated homage and more like a mere excuse for the wan, thinly sketched story.

None of Birthday Girl's calculated events take us by surprise...

There are many definitions of 'time waster' but this movie must surely be one of them.

I can easily imagine Benigni's Pinocchio becoming a Christmas perennial.

This is rote drivel aimed at Mom and Dad's wallet.

K 19 stays afloat as decent drama/action flick

What more can be expected from a college comedy that's target audience hasn't graduated from junior high school?

It's quite diverting nonsense.

Aggravating and tedious.

I'm sorry to say that this should seal the deal - Arnold is not, nor will he be, back.