Jonathan Foreman

Recycles the teen romantic comedies of the last few years...and it's easily the worst of the lot.

The demands of formula eventually stifle anything that even looks like inspiration or honesty.

James' character is a charmless, boring lump and it's very hard to care if he gets the girl or not.

The "Jurassic Park" movie franchise does not evolve. Quite the opposite: It degenerates at great speed.

A deeply pleasurable, old-fashioned blood-'n'-guts adventure film.

It's hard to imagine how Shyer and script writer John Sweet could have brought this tale to the screen in a cruder, cornier or less interesting way.

Though it sometimes feels as if it's four hours long, Underworld has going for it an intriguing fantasy premise, an eventful plot and a look that is diverting, if finally a bit monotonous.

But even that talent (Freeman) isn't enough to distract you from the general predictability of Spider or the absurdity of its elaborate last-minute plot twists.

A crude, manic and embarrassingly unfunny satire that feels off from beginning to end.

The result is an intermittently instructive and amusing jumble that might have been seen as daring and "transgressive" in both form and content if it had been released, say, three decades ago.

Fitfully funny at best, it's a sophomoric, facetious road comedy.

The whole movie is so ineptly written and directed that its 90 minutes seem to take twice as long.

A cast almost talented enough to distract you from Ted Griffin's gimmicky screenplay.

A beautifully filmed, scrupulously authentic but strangely evasive exercise in combat ultra-realism.

Laughs are few and far between, and the film feels brutally long.

Prime date fare, but cotton-candy light and occasionally just a little too whimsical.

There are a few ingenious zig zags in its otherwise by-the-numbers plot...but what keeps you interested... is the sheer movie-star presence of the actors in the lead roles.

A pointless, wincingly snide exercise.

A particularly gross exploitation of the Holocaust for financial gain.

Visually stunning.

Bland, occasionally funny.

Relentlessly stupid.

They may not have made another "Back to the Future," but to their credit, the makers of Clockstoppers don't patronize or underestimate their pre-teen audience nearly as much as has become customary.

Works unexpectedly well for its first three quarters.

It's a thinly disguised lecture about intolerance, spotted with historical inaccuracies and groaning with dialogue so dreadful that it makes a fine cast look ridiculous again and again.

During an endless, maudlin last act, it becomes more and more difficult not to laugh -- or barf -- as the protagonists tearfully come to terms with their issues.

More tedious than affecting.

About three-quarters of the way through, Havana Nights suddenly becomes laugh-out-loud awful, with dreadful, lame lines delivered painfully badly - as if a different screenwriter and director had taken over for the movie's final act.