Chris Kaltenbach

Unfortunately, whenever Beautiful threatens to work as parody, it veers uncomfortably into pop psychology.

It's a sad day for film lovers when the best thing that can be said about a Western is that it's pleasant.

See it to be reminded (if you need further reminding) of this actress' remarkable range. Otherwise, take a pass.

Almost sinks under the weight of too many red herrings, but is rescued by a skewed sense of reality and pervasive sense of dread that should keep audiences from dwelling on them.

The movie annoyingly waits until the end to reveal the names of those experts who have been doing all the talking; it would have been nice to know these folks' qualifications first.

When the women are onscreen and their relationship is on display, Head Over Heels trips merrily along. But every time the focus shifts to Prinze, the film suffers from a bad case of fallen arches.

It should come as no surprise that the dogs are as cute as caninely possible. But is it conceivable that, once you've seen 101 adorable dogs, 102 seems redundant?

Bullock is so good, working hard to pull off the transition from grief-stricken wife and mother to reluctant time traveler, you want to pull for her. So it's possible - not easy, but possible - to overlook the script's inconsistencies.

Even in a world where stupidity mixed with cliche is all too often mistaken for humor, this movie barely meets expectations.

Should sell its soul for a joke.

There's much more than a little Stifler here. Still, there's a recklessness to the character, as well as Scott's performance, that almost engenders respect; he's so determinedly unregenerate, so outrageously lewd, so unrelentingly grating, one almost looks forward to seeing just how far he'll go.

Arthur and the Invisibles tries way too hard.

Outside of a strong (and largely misused) cast and an abundance of moody atmosphere, there's precious little to recommend this exploitative mess.

Still, it's hard not to long for the Pooh stories of old, those endearingly anarchic little tales that captured the wonder of a child's world without ever once condescending to it.

To its credit, Heartbreakers lives up to expectations. Almost.

Girls Will Be Girls thinks watching outrageous people acting outrageously is its own reward. It isn't.

Benefits from an amiable chemistry between Harrelson and Banderas, and Davidovich always makes a good tough-as-nails dame with more smarts than any man will give her credit for.

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.

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.

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."

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.

The strong young cast keeps the film from being a total waste.

There are moments, heaven forgive me, that left me chuckling. Not to mention eternally grateful that it's these guys doing this stuff, and not me.

Gracie is painfully earnest, which might be OK were it not also painfully trite, painfully cliched and painfully formulaic.

Too much about the game and not enough about the town, the players and everything else.

Fans should be satisfied, but it's hard to imagine anyone else will be much interested in TMNT.