Angel Cohn

Undeniably entertaining.

Unfortunately, the emotionally resonant moments between Murphy and Fanning are few and far between; the rest of the film relies on goofy physical comedy -- Murphy takes more pratfalls that any young woman should have to.

Hudson and Wilson share a natural and easy chemistry that helps compensate for the Cuban-mobster subplot.

A pretty little package whose perfect, fairy-tale ending is just a little too neat, the film's colorful wrapping includes veteran actress Carol Kane's bizarre but enjoyable performance as the school's uptight drama teacher.

Readers hate to see their favorites messed with by filmmakers, and though devotees will notice changes from Brashares' novel -- some slight and some more substantial -- the film remains true to the book's spirit, and the deviations shouldn't alienate them.

Here the message -- it's not nice to ridicule, mistreat or ignore people just because they're different -- verges on the oppressive; more of the Farrellys' trademark over-the-top comedy would have lightened the load.

The original Carly Simon songs are well performed, but their soothing lullaby qualities may cause those with short attention spans to nod off.

The frat brothers have some surprisingly touching moments, and their diverse but perfectly matched personalities generate a fairly steady stream of laugh-out-loud moments.

The unique musical ending is worth the wait.

Scene-stealing cameos by Matt Damon and Lucy Lawless and the very catchy pop song that becomes a leitmotif for Scotty's pain are among its less-raunchy (comparatively speaking) highlights.

Fraser's goofiness matches that of the animated characters and he cheerfully pokes fun at his celebrity persona, while Elfman is oddly appealing as a strong woman who must seek help from a wascally wabbit.

Katey and Javier's dramatically expedient relationship is nowhere near as interesting as the Cuban Revolution, which is relegated to window dressing.

This cream puff of a romantic comedy is sweet enough, but lack of substance makes it deeply unsatisfying.

The charismatic Mac has stepped into leading man roles with surprising ease, but Bassett -- a fine actress in all respects -- is clearly struggling with the film's broad comedy.

Enjoyable and funny enough.

This is director Luc Besson's first attempt at combining animation with live-action, and while the look of the film is impressive, he should have focused more of his efforts on fleshing out the script that he adapted from two of his own "Arthur" books.

The bizarrely entertaining relationship that blossoms between Sciorra and Piven is far more amusing and convincing, which only underscores the lack of chemistry between the dewy leads.

A barrage of pop-culture jokes, time-travel high jinks and plucky orphans that's as confusing as it sounds, and riddled with plot holes to boot.

Braff and Bateman have a good, darkly comic chemistry, but there aren't nearly enough moments like the brutally funny, "Murderball"-style wheelchair basketball game to sustain the entire film.

But while the material is interesting, it's not substantial enough to sustain a feature-length treatment.

Cassavetes' film is unusually well-acted and lovely to look at, but his wholehearted embrace of saccharine melodrama and tendency to let scenes ramble on long after their point has been expressed makes for some slow going.

Though positioned as a female buddy comedy, this uneven and overly busy comedy is more focused on the romantic travails of Vardalos and Duchovny, who's very nearly a carbon copy of her love interest in "My Big Fat Greek Wedding."

Although superficially an odd couple, the outspoken Barr and the restrained Dench work together surprisingly well and a steady stream of jokes aimed at both adults and kids keeps this genial entertainment galloping along at a brisk pace.

Only Lynch's over-the-top network executive stands out in this otherwise bland film that tries for satire but neglects to be funny.

Keaton and Holmes have some sweet father-daughter moments and the supporting cast gives its all.

But for those jonesing for a loosely connected string of comedy sketches, heavy on the scatological humor, this is the fix.

Brian Robbins (Varsity Blues) actually has a clear sense of the way 21st-century teenagers behave, and his sleek style keeps the film moving briskly.

The film makes no real impression; it's amiable, occasionally funny and indistinguishable from dozens of other romantic comedies just like it.