Chris Kaltenbach

A wonderfully understated work offering insights to a world where no emotion is simple.

Scores some serious points for its dance moves but does a lousy job of remembering there's a lot more to this big old world than moving your feet.

Allen's latest, his 42nd effort as a director, is the work of an artist devoid of ideas and energy. Perfunctorily staged and lazily written, it comes to life in only the briefest of spurts, usually when the ever-reliable Tom Wilkinson is on-screen.

It's also unclear just what Niccol wanted this film to be: a satire? a spoof? a black comedy? a pointed social commentary? Perhaps all of the above - way too many hats for a movie this slight to wear.

Unwaveringly predictable.

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

There's a lot of talk about sex in Sidewalks of New York, but precious little of it. And that's part of the point.

It's a blast!

The Sentinel moves quickly and never becomes a bore. It does become something of a cartoon, though, which proves a major letdown for a movie that aims for something far more intelligent.

Undeniably charming -- a dog movie that's more lovable mutt than stately pedigree.

The only character with any personality in The Grudge is a Tokyo house, but not to worry - it's got enough mean in it to keep any horror movie afloat.

True, John Ford and John Wayne did this stuff a lot better back in the day, but they're not around anymore. John Singleton is, and it's nice to see someone caring enough to keep the tradition alive.

Gets the hell of war right and struggles to depict the unyielding passion of love. But the two sides make for an uneasy mix, one that not even the actors seem comfortable with.

Should sell its soul for a joke.

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.

Graeme Obree was a champion bicycler who, by all accounts, rarely took the easy way out. Too bad this movie version of his life doesn't follow suit.

Things may work out predictably, but The Ultimate Gift does not yank on the heartstrings so much as pluck them gently.

Your basic Lasse Hallstrom formula-film, featuring people in dire situations who are redeemed when their basic goodness comes to the fore, elevated a notch by a pair of actors displaying sides we don't often see.

Unapologetically cliched and determinedly upbeat (even when it shouldn't be).

The whole movie is too predictable, its conflicts either forced or simplistic.

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

Like watching a 90-minute game of the video game Asteroids - all bang and no buck.

The Banger Sisters stands as proof that no movie is so bad it can't be redeemed by a single stellar performance. That performance is by Susan Sarandon.

Lively and inspirational, with terrific performances from a big star and a host of supporting players.

It's a real shame the film gets mushy at the end. The result is an all too conventional ending on a film that should have been much better.

Lackluster in narrative and in no way original or innovative, the movie is pretty much generic Disney, a film about universal brotherhood stitched together from parts that worked better in other films.

A misfire in almost every direction.

Funny, sweet and only mildly offensive.