Gregory Weinkauf

For better or worse the movie is simply simple -- the project's quality and significance depend upon one's perspective: Is this a daring and impressive homespun yarn or just a very middling stab at soft-core?

The result is his (Shyamalan's) most meditative and lovingly rendered offering thus far, if also his least fun.

A dismaying dearth of romantic chemistry -- during their brief scenes together, the two (Pitt, Roberts) actually seem afraid to touch each other -- and we end up with a Frankenstein's monster of a movie: lots of interesting pieces cobbled together with all the stitches showing.

The theme (social breakdown in isolation) is strong, but the plot meanders, and the motivations are decidedly hazy, so its popularity probably stems from its seamless blending of naive wonder and soul-mining horror.

The game is cool to watch, and the love story is assertive enough to hook even the stodgiest ESPN man.

Beneath its satisfactory chops this movie -- like Ms. Croft herself -- is stuffy and soulless.

A satisfyingly eerie thriller.

Delivers a thoughtful what-if for the heart as well as the mind.

Doesn't swing, doesn't score, can't make it to first base, never even drags its sorry ass out of the dugout.

It's beautiful and obvious, a dubious combination that may nonetheless ensure its success.

Lured to the project with John Cusack as her original co-star (cruelly replaced by Matthew Broderick), Nicole Kidman phones it in.

Another disposable kidnapping thriller.

Visually it's wild fun, since fledgling feature director Len Wiseman started off in production design, and creature designer Patrick Tatopoulos's diverse credits span from "Godzilla" to "Stuart Little." Yet with Underworld's guilty pleasures come copious clinkers, from its nuts-and-bolts narrative foundation to Wiseman's inability to direct actors beyond cartoonish interaction.

An adaptation that can rightfully be called brilliant.

Offers considerable charm and an obvious desire to please.

Very sketchily based upon "The Reluctant Debutante" (minus the charm, plot, and characterization).

Although the press notes liken the movie to "Easy Rider" (why not "Lawrence of Arabia" while you're at it?), the obvious comparison is to the "Fast and Furious" franchise, which shares the same producer. Actually, the closest spiritual cousin may be "Pee-wee's Big Adventure."

It's inspiring and consistently exciting to the eye, mind and heart, as the plentiful formations -- global, but most of these English -- stimulate the imagination with their incredible beauty and complexity. Marvelous work all round.

Akerlund and crew use their full arsenal of lenses and editing techniques in service of leaving you spun, but it's undeniable that this movie was produced by steady hands and thoughtful minds.

A solo "Thelma and Louise" crossed with a gender-reversed "The Fugitive" with a dry twist of "Fletch."

This modest project is all about atmosphere and reflection, and, as such, it is successful.

The creators of Alexander set out to make an epic, and they can't be faulted for the many elements that succeed on this scale; what's unfortunate is that they don't quite deliver a camp classic.

The lavish drama spans England, France, and Spain (shot mostly in Montreal), and Duigan elegantly paints a moving romance of errors amid torture, bloodshed, and terrible tragedy.

Heavy-handed, saccharine message somehow goes down good.

Loses significant points for its lazy story and complacent delivery.

The beasts are employed to splendid metaphorical effect, which may be lost on viewers perceiving nothing but an action romp.

There's a somber tone to Petroni's work here--enhanced by Roger Lanser's shadowy cinematography and handicapped a bit by a schmaltzy Hollywood-type score--and there's also plenty of episodic life stuff.

It's a likable enough smorgasbord, from its trendy Irish locations to Andy Summers turning in a Beatles cover to occasional giggles and gasps.