Chris Kaltenbach

Meandering, forgettable trifle.

This is a movie for genre fans only; there's not an aspect to it that should appeal to the rest of the world. It's neither original nor inventive, and while its young cast works hard, there's not even a standout performance worth recommending.

Nothing seriously detracts from the film's overall brilliance.

A cautionary tale, a warning not to gather all of your neurotic friends in one room - or better yet, not to have so many neurotic friends.

The Legend of Bagger Vance is nothing but "The Natural" with Will Smith playing the bat.

A love letter to the time, and the period, and the legend that has grown around both. Maybe it's all too wonderful to be true, but that's OK. If Taking Woodstock is a fantasy, then it's a most benevolent one, and more power to it.

It's impossible not to be exhilarated by the energy and determination that infuses every frame.

In a society where athletic competitions are too often likened to war, the recognition that everyone's equal once they're off the playing field is a welcome reminder of that little thing called perspective, not to mention sportsmanship.

It rarely strikes the right tone and ultimately falls short of what one would expect from a collaboration between director Wim Wenders and writer Sam Shepard.

Huckabees boasts an impressive cast, and every one of them is fun to watch. But there's a strong sense that no one really knows what's going on here.

But the fine performances of all three leads rise above the cliches, giving the film a sense of reality that both impresses and inspires.

Put the tango in "To Sir, With Love," and you've got Take the Lead.

A pleasant little confection that leaves behind the sneaking suspicion it should have amounted to so much more.

Painfully earnest, The Astronaut Farmer is, sad to say, a bunch of hooey. It's Frank Capra without the genuine heart, certainly without any sense of perspective.

Even a full week after seeing it, I'm still influenced enough by the film's many enchantments not to be overly concerned with its flaws.

There's way too much blarney in Evelyn.

There's a power to Woman Thou Art Loosed that transcends its limitations, a determined, heartfelt belief in the possibility of redemption.

The animals in Road Trip are pretty hilarious; as a five-minute short on cable TV's "Animal Planet," this film would be a stitch.

Pointed and satiric. Best of all, one must hasten to admit, it's pretty funny.

The result is a passionate, enthralling film that isn't afraid to take chances - even if it sometimes should be.

The cinematic equivalent of a beautifully wrapped gift box with nothing inside.

Spending more time with Downey's character would have benefited this movie no end.

The film ultimately is a letdown, leaving too many questions unanswered and ending in a gesture that doesn't really solve anything.

A pastiche of sadistic horror-movie cliches with minor traces of wit but major overflows of perversity.

Taken together, the sum of so many parts is too schizophrenic to be wholeheartedly embraced -- the movie is played for parody, but with a veneer of respectability that leaves the whole endeavor betwixt and between.

The real strength of Return to Me is Hunt, who knows just when to retreat from the film's overriding sweetness and inject a cynical moment or two.

The Bread, My Sweet is not for the cynical, who will doubtlessly find themselves gasping for air before the film's over and demanding a reality check of anyone who actually likes it. Their loss.

The film's impact and poignancy are undeniable.