Jonathan Foreman

Isn't boring, but it is sanctimonious, relentlessly predictable and willfully ignorant of the period it's set in.

Draggy and contrived.

The sad truth is that TV series like "Dawson's Creek" do a better job with precocious teen dialogue.

Without a real story to go with the notion of Farm Belt "wiggas," the humor wears thinner and thinner until it disappears.

Slick but painfully precious, it strains to be darkly romantic but is bereft of genuine feeling.

It's only when you're leaving the theater that her spell wears off and you realize just how bad the movie, directed by Andy Tennant, really is.

Has moments that are eerily beautiful and genuinely moving -- and some that are surprisingly vulgar.

Generic memoir of lower-middle-class "white ethnic" life in the '50s.

A lazy and uninspired knock-off of the hilarious 2002 movie "Road Trip."

Large chunks of the film seem like a record played at the wrong speed: The tempo of the dialogue as delivered doesn't match the lines as written, and the filmmakers are too lazy or too inept to make their convoluted premise jibe with any recognizable idea of human nature.

As mechanical and predictable as a cuckoo clock, it shouldn't work half as well as it does.

Unfortunately, Scorpion King has none of the qualities -- epic sweep, relative originality and heartfelt bloodthirstiness -- that made "Conan" so trashily entertaining.

Has its heart in the right place -- and in a season filled with somber or goopy Oscar contenders, it makes a perfectly decent date movie.

Graham is funny and adorable in this endearing little romantic comedy.

Although Vatel is trying to say something about freedom and gilded cages, it feels more like a behind-the-scenes look at the high-end catering business.

Exciting stuff in its primitive, predictable way.

A noisy, amateurish mess that doesn't work on any level - an extended, clich-ridden MTV video set to anachronistic bad music.

Recycles gags from various, more successful gross-out and romantic comedies, but without any zest or imagination.

Even a hardened voyeur would require the patience of Job to get through this interminable, shapeless documentary about the swinging subculture.

It's muddled and shallow and obvious. Worse, it fails as entertainment, being so ineptly directed and written it often has the feel of a high school production by kids with more money and ambition than talent.

A profound disappointment, given its cast and source material.

Isn't quite up to the comic standard of Rob Schneider's 1999 hit "Deuce Bigalow, Male Gigolo."

Very, very funny, albeit inferior in a number of ways to the original.

Cinematographer Darius Khonji does a superb job of conveying both the sensual beauty (there's a spectacular moonlight-on-the-water sex scene with Leo and the lovely Ledoyen), and the darkness of Richard's paradise lost.

A messy, woefully uneven chick flick.

It's an even rarer pleasure to see a film that combines exciting action with a smart, well-informed script and vivid yet restrained performances.

Woo has never been particularly good at human stuff, and to the extent that Paycheck is, or should be, a love story, it feels forced.

Has some entertaining moments, thanks mainly to Bullock herself, who is surprisingly glamorous as well as endearing.