Chris Kaltenbach

When Crews is onscreen, White Chicks is a film that fears nothing and no one. When he's not, it's a film too tentative and soft-hearted to scale the farcical heights to which it aspires.

Garry Marshall, old pro that he is, couldn't be more endearing as the grandfather, struggling gamely to make things right.

Simply twiddling with the fine-tuning on the central character is not enough to warrant remaking a film. Both Glover and Willard deserve better.

It's hard to go wrong with a movie full of talking dogs. But the makers of Beverly Hills Chihuahua sure try.

Young Cyrus is undeniably cute, and some of her songs are as catchy as the law allows - especially "Hoedown Throwdown," But asked to anchor a full-length movie, she simply doesn't have the chops to pull it off.

Gets credit for avoiding the easy path. Too bad the path it chooses doesn't lead us anywhere we want to be taken.

Moonlight Mile leavens the mood occasionally, but it cheapens things by insisting that everybody onscreen and in the audience leavethe theater smiling.

A film as clever and embracingly ribald as this shouldn't have to resort to cliche in the end; director Nigel Cole should have kept his girls in Britain and kept the mood light.

Is there anyone out there who hasn't seen this movie a dozen times before? Maybe even as recently as last week, since it's basically the same story line as the funnier, if less heartfelt, "Four Christmases."

Funny, sweet and only mildly offensive.

Like the coolest train set a kid ever had. It's not real and the faces on the toy people don't look human, but it has bells and whistles galore and will take you as far as your imagination allows.

Heaven is so determined to be poetic and beautiful, it comes across as forced and didactic, a lesson in relative morality whose storyline doesn't so much flow as lurch from one stretch to another.

A joyful celebration of spirit and endurance.

If Kill Bill Vol. 1 was bloody exhilarating, Vol. 2 is bloody great. And, as a bonus, not nearly so bloody.

Partially financed by the liberal Move On.org, speaks most eloquently when it lets Fox News do the talking.

A film not nearly as intriguing as it should have been, centering on a death that isn't nearly as intricately fascinating as the filmmakers think. Exacerbating the problem is a cast of actors who seem too self-consciously playacting.

Paid In Full's performances - especially by the always-engaging Phifer -- are strong, its message worthwhile and its sincerity doubtless.

If only it had some funny lines, a focused plot and an idea that stretched beyond the initial setup.

What the film needs is more heart, humor and maybe some honest-to-goodness humility, not energy. And unfortunately, that's about all Gooding seems able to bring to it.

Heaven knows what the suits at Disney were thinking, for what they ended up with was a bland Jackie Chan movie and a lifeless travelogue.

While it's certainly too derivative to be a great movie, it's too goodhearted and modest in its aspirations to be denied.

Features lots of cool dialogue but doesn't provide much of a movie in which to showcase it.

This delightful, if perhaps too calculatedly winsome, comedy presents seniors who are coping with emotional and physical losses and challenges them to act like the young people they still are at heart.

Like its predecessor, Jeepers Creepers 2 is that rare modern horror film that remembers audiences are scared far more by what they don't see than by what they do. For that alone, horror fans should be thankful.

Charming has devolved into almost a pejorative these days, but Tuck Everlasting is the sort of film that could change that.

A sword-and-sorcery saga that desperately wants to be another "Lord of the Rings," Eragon succeeds in being only the palest of imitations.

Oh, this is all so terribly not good.

It may not advance the art form, but it's a movie with pleasures for the whole family, and nowadays that's saying something.