Allison Benedikt

A poor man's "When Harry Met Sally."

Not funny because it's not true.

There's really just not a lot here. I'm sure Racer's story will entertain the very wee ones -- but so do keys.

I guess there's something progressive going on when a lesbian love story gets to be just as dreadful and tacky as most straight ones.

Commenting on performances here is like critiquing the production design of a porno--it's beside the point. Briefly: Knoxville, bad choice, man. Reynolds, you make a good villain. Simpson, lovely posing. Scott, you're from Minnesota and it shows--but I bet stunt driving school was fun.

A childish and visually repetitive movie, ham-fisted, proselytizing and overtly simplified.

This is the kind of movie that nice people call ambitious. Let's just leave it at that.

Cherot shot G on a tight schedule, but instead of this age-old indie predicament generating a certain scrappy passion, the film just looks cheap.

Phony, disingenuous family entertainment, suffocated by its green bean casserole approach to Middle America, spineless cardboard characters and paper-thin plot "twists."

Gere and Binoche are both terribly miscast--one far too charismatic, the other far too dowdy, which is something for Juliette Binoche. And the spelling bees? Dull. Dreary.

A huge waste of talent (Witherspoon's) and time (ours), a supernatural romantic comedy that is neither romantic, comedic, super or natural.

Even with a new leading man and a more family-friendly rating, some things never change: The Mask still stars Industrial Light & Magic.

I have a sneaking suspicion that Running Scared could become a cult classic.

I won't pretend there aren't moments of sweetness here--there are, aplenty. But the promise of true emotion goes bust with bad acting, cheap writing and false sentiment.

Mark my words: Mindhunters will do for psycho-thrillers what "Showgirls" did for stripper movies.

In the end, Protocols of Zion is all context--a bit here about Father Coughlin, a minute there about the Holocaust, a stint with "The Passion" and a brief shot of Levin watching the beheading of Daniel Pearl--no soul.

An exhausting, predictable, even maddening moviegoing experience.

Maybe if Mindel had focused more on his characters, less on the silly "noir" trickery, his film would do Garity justice. As it is, go find better work, kid.

Could have been a funny movie. There are a few truths about food-service that McKittrick gets right but doesn't fully exploit.

A mostly bland, sporadically crude, by-the-numbers romantic comedy about two gay men in love.