Ellen A. Kim

Purely an easy-to-digest testosterone flick anyway, with standard bikini babes, roaring engines and bikers who circle each other slowly in the dust before they rumble.

A sweet if bland film.

Only Carol Kane, hilarious in roller curls and wide tortoiseshell glasses, gets to sink her teeth into her role. At least for Lohan, "Confessions" is her stepping-off point. Now she has to find a film to be her "real" stage.

It may set itself up as a girlie film with "Ya-Ya" mystics (complete with candles and chanting), but sheds that motif for a much more grounded (and satisfying) film.

The good news is that Kidman's the best thing in this rather subdued film: sexy, coy and even a bit funny. The bad news is that the movie itself is unlikely to register very long on anyone's radar.

What saves the film is the chemistry between the two leads.

Holmes ably handles the starring role, but the handsome Bratt doesn't have enough material to cement his film career. The supporting cast is strong.

Somebody in Hollywood thought taking "Some Like It Hot" and "Animal House," sticking them in a blender and serving in Dixie cups was a good idea. That somebody should be fired.

While it lacks the original's streamlined core, the father-son relationship, the sequel gets by on assembled moments of sentiment

The gags on which it rests its laughs have been lifted from every other raucous comedy, campus-oriented or not.

It would have made for a cool fictional thriller, but The Mothman Prophecies' attempt to stick to true-life roots paralyzes it from being satisfying. It gives you the tingles all right, but they won't follow you out of the theater.

Garner's vulnerable, winning performance strikes emotional chords (not to mention nostalgia) in this fantasy comedy.

Just pretend the acting scenes are commercial breaks, and you'll be fine.

Schroeder's misstep is trying hard to please his star, whether it be her character's empathetic past or one very fake-looking action climax. His greatest service is keeping her toe-to-toe with her talented co-stars -- and both are the better for it.

Even throwing in a spunky fight between female sidekicks (Gabrielle Union and Kelly Hu) isn't enough to float this film over clumsy dialogue and the feeling we've seen it before.

This is Epps' showcase. He can't cover all the film's flaws, but he'll sure gab your ear off trying.

The film can't decide between black comedy and bubblegum comedy, so it shoots aimlessly in between.

The cast, collectively a successful example of the lovable-loser protagonist, shows deft comic timing, particularly Chandrasekhar, who wrings laughs just by his reaction to the locals' racist remarks.

It's an uncluttered, resonant gem that relays its universal points without lectures or confrontations.

Doesn't even fall in the lowbrow-but-entertaining comedy category. It's unabashedly dumb and pathetically offensive.

Watching a Bruckheimer with natural comics like Smith and Lawrence makes it all go down easily. If you like this type of movie, that is.

Try as it might, this glossy action adventure isn't nearly as clever as the "Spy Kids" franchise.

Only Nam, in a pot-induced drawl, infuses the film with great comic timing.

The film gets snaps just by attempting the high road, and should be enjoyed by its target audience.

Mostly fun to watch, buoyed by some strong dialogue and performances by the supporting cast.