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This story of unrequited love doesn't sustain interest beyond the first half-hour.

It's a stale, overused cocktail using the same olives since 1962 as garnish.

In IMAX in short, it's just as wonderful on the big screen.

Sex ironically has little to do with the story, which becomes something about how lame it is to try and evade your responsibilities and that you should never, ever, leave a large dog alone with a toddler.

I'd watch these two together again in a New York minute.

It's a film that's destined to win a wide summer audience through word-of-mouth reviews and, not far down the line, to find a place among the studio's animated classics.

Continually challenges perceptions of guilt and innocence, of good guys and bad, and asks us whether a noble end can justify evil means.

He's a better actor than a standup comedian.

So beautifully acted and directed, it's clear that Washington most certainly has a new career ahead of him if he so chooses.

He's just a sad aristocrat in tattered finery, and the film seems as deflated as he does.

Insomnia is one of the year's best films and Pacino gives one of his most daring, and complicated, performances.

It's so badly made on every level that I'm actually having a hard time believing people were paid to make it.

While not quite "Shrek" or "Monsters, Inc.", it's not too bad.

A slight but sweet film.

My only wish is that Celebi could take me back to a time before I saw this movie and I could just skip it.

One of these days Hollywood will come up with an original idea for a teen movie, but until then there's always these rehashes to feed to the younger generations.

an appalling 'Ace Ventura' rip-off that somehow manages to bring together Kevin Pollak, former wrestler Chyna and Dolly Parton.

A smart, arch and rather cold-blooded comedy.

It finds no way to entertain or inspire its viewers.

A powerful, chilling, and affecting study of one man's dying fall.

The satire is unfocused, while the story goes nowhere.

The Son Of The Bride's humour is born out of an engaging storyline, which also isn't embarrassed to make you reach for the tissues.

An uneasy mix of run-of-the-mill raunchy humor and seemingly sincere personal reflection.

An uplifting, near-masterpiece.

The film's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence.

Unlike lots of Hollywood fluff, this has layered, well-developed characters and some surprises.

In his role of observer of the scene, Lawrence sounds whiny and defensive, as if his life-altering experiences made him bitter and less mature.

Boasts eye-catching art direction but has a forcefully quirky tone that quickly wears out its limited welcome.

Pete's screenplay manages to find that real natural, even-flowing tone that few movies are able to accomplish.

Exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable.

The humor and humanity of Monsoon Wedding are in perfect balance.

The gorgeously elaborate continuation of "The Lord of the Rings" trilogy is so huge that a column of words cannot adequately describe co-writer/director Peter Jackson's expanded vision of J.R.R. Tolkien's Middle-earth.

To paraphrase a line from another Dickens' novel, Nicholas Nickleby is too much like a fragment of an underdone potato.

Lacks depth.

It's as if Solondz had two ideas for two movies, couldn't really figure out how to flesh either out, so he just slopped 'em together here.

In the end, Tuck Everlasting falls victim to that everlasting conundrum experienced by every human who ever lived: too much to do, too little time to do it in.

This slight premise ... works because of the ideal casting of the masterful British actor Ian Holm as the aged Napoleon.

Rarely has sex on screen been so aggressively anti-erotic.

Straightforward and old-fashioned in the best possible senses of both those words, Possession is a movie that puts itself squarely in the service of the lovers who inhabit it.

Though the story ... is hackneyed, the characters have a freshness and modesty that transcends their predicament.

It's light on the chills and heavy on the atmospheric weirdness, and there are moments of jaw-droppingly odd behavior -- yet I found it weirdly appealing.

The first Tunisian film I have ever seen, and it's also probably the most good-hearted yet sensual entertainment I'm likely to see all year.

Anybody who enjoys quirky, fun, popcorn movies with a touch of silliness and a little bloodshed.

As the dominant Christine, Sylvie Testud is icily brilliant.

The makers of Mothman Prophecies succeed in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad.

(A) devastatingly powerful and astonishingly vivid Holocaust drama.

Dogtown & Z-Boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of James Dean.

It works well enough, since the thrills pop up frequently, and the dispatching of the cast is as often imaginative as it is gory.

(Hayek) throws herself into this dream Hispanic role with a teeth-clenching gusto, she strikes a potent chemistry with Molina and she gradually makes us believe she is Kahlo.

The film's needlessly opaque intro takes its doe-eyed Crudup out of pre-9/11 New York and onto a cross-country road trip of the Homeric kind.

The biggest problem with Satin Rouge is Lilia herself.

The thought of watching this film with an audience full of teenagers fixating on its body humour and reinforcement of stereotypes (of which they'll get plenty) fills me with revulsion.

Captivates and shows how a skillful filmmaker can impart a message without bludgeoning the audience over the head.

Jaglom offers the none-too-original premise that everyone involved with moviemaking is a con artist and a liar.

Contrived, maudlin and cliche-ridden...if this sappy script was the best the contest received, those rejected must have been astronomically bad.

One suspects that Craven endorses They simply because this movie makes his own look much better by comparison.

The film's final hour, where nearly all the previous unseen material resides, is unconvincing soap opera that Tornatore was right to cut.

Like its bizarre heroine, it irrigates our souls.

Savvy director Robert J. Siegel and his co-writers keep the story subtle and us in suspense.

Puts on airs of a Hal Hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself.

The appeal of the vulgar, sexist, racist humour went over my head or -- considering just how low brow it is -- perhaps it snuck under my feet.

Has the disjointed feel of a bunch of strung-together TV episodes.

While Broomfield's film doesn't capture the effect of these tragic deaths on hip-hop culture, it succeeds as a powerful look at a failure of our justice system.

Completely creatively stillborn and executed in a manner that I'm not sure could be a single iota worse... a soulless hunk of exploitative garbage.

...a vivid, thoughtful, unapologetically raw coming-of-age tale full of sex, drugs and rock 'n' roll.

A treat for its depiction on not giving up on dreams when you're a struggling nobody.

It's fitting that a movie as artificial and soulless as The Country Bears owes its genesis to an animatronic display at Disneyland.

We don't get paid enough to sit through crap like this.

Feels like a cold old man going through the motions.

Both an admirable reconstruction of terrible events, and a fitting memorial to the dead of that day, and of the thousands thereafter.

Bravado Kathy!

Execrable.

(Seagal's) strenuous attempt at a change in expression could very well clinch him this year's Razzie.

Thoroughly awful.

The production values are of the highest and the performances attractive without being memorable.

Starts as a tart little lemon drop of a movie and ends up as a bitter pill.

Despite Besson's high-profile name being Wasabi's big selling point, there is no doubt that Krawczyk deserves a huge amount of the credit for the film's thoroughly winning tone.

Often lingers just as long on the irrelevant as on the engaging, which gradually turns What Time Is It There?

A sensitive, moving, brilliantly constructed work.

Not exaggerated enough to be a parody of gross-out flicks, college flicks, or even flicks in general.

A high-minded snoozer.

Bring on the sequel.

Judging by those standards, 'Scratch' is a pretty decent little documentary.

A movie like The Guys is why film criticism can be considered work.

PC stability notwithstanding, the film suffers from a simplistic narrative and a pat, fairy-tale conclusion.

An often watchable, though goofy and lurid, blast of a costume drama set in the late 15th century.

Check your brain and your secret agent decoder ring at the door because you don't want to think too much about what's going on.

A seriocomic debut of extravagant promise by Georgian-Israeli director Dover Kosashvili.

As saccharine as it is disposable.

The film becomes an overwhelming pleasure, and you find yourself rooting for Gai's character to avoid the fate that has befallen every other Carmen before her.

Matters play out realistically if not always fairly.

As lively an account as Seinfeld is deadpan.

It may not be a great piece of filmmaking, but its power comes from its soul's-eye view of how well-meaning patronizing masked a social injustice, at least as represented by this case.

The only thing that distinguishes a Randall Wallace film from any other is the fact that there is nothing distinguishing in a Randall Wallace film.

Contains all the substance of a Twinkie -- easy to swallow, but scarcely nourishing.

Cremaster 3 is at once a tough pill to swallow and a minor miracle of self-expression.

Ver Wiel's desperate attempt at wit is lost, leaving the character of Critical Jim two-dimensional and pointless.

Instead of hitting the audience over the head with a moral, Schrader relies on subtle ironies and visual devices to convey point of view.

A sustained fest of self-congratulation between actor and director that leaves scant place for the viewer.

A lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her.