Kim Morgan

If the movie wasn't about an actor but instead about an insurance salesman or a plumber who looked like James Gandolfini, it might come off better. But then, who says a plumber would care either?

The film wears out its welcome by the halfway mark, becoming a silly spectacle.

Sometimes funny but mostly stupid film directed by Adam Shankman might have worked had it been made on TV by Norman Lear in the 1970s.

It's an odd, overly long picture, filled with too many pauses but dotted with just enough funky band sequences to keep you interested.

The film is weighed down by the decision of director David Atkins to throw too much into the mix. The result is a serious problem of consistency.

A sweet, loopy British comedy filled with good actors and funny moments.

In The Tuxedo, ridiculously, Chan's just a suit. A suit walking Jennifer Love Hewitt's breasts around. Chan deserves better.

An unsteady mixture of treacle and dark comedy that never feels as "dark" as it pretends. Though well-intentioned, it's not terribly compelling.

It's nice that Demme reveres the Hollywood classic, the French cinema and the glamour of his actors. But nice is all The Truth About Charlie is -- a nice mess.

Crowe understands what's interesting about Nash: He's not a feel-good figure. It's a pity the same can't be said for Howard.

It's still trite and a little too cutesy for its own good. Gay or straight, the cliches remain, but not to a stultifying degree.

'N Sync is bouncy, harmless fun. And so is this stupid movie.

The story sounds horrifying, but the film takes some unfortunate twists and never presents us with a multifaceted character in Paxton. Paxton just doesn't play the nice-but-nuts role with a modicum of terror.

Though not terrible, and blessed with some nice performances, this Irish-eyes-are-smiling-despite-the-rain-and-nasty-nuns story is Hallmark Hall of Fame material.

The picture is pinched and predictable. Even with the immensely talented Steve Zahn, an actor who's known to steal scenes and, sometimes, save pictures, the movie is a yawn.

Really, we'd rather just watch a good documentary about the subject. And as the camera flings around, we occasionally forget about what could help the teens and think more about what could help the director: How about a tripod?

A flawed fable but an intriguing one nonetheless. It's "Splash" gone existential. How many films can you name like that?

Pablo Berger's subtle satire Torremolinos 73 is almost there. Almost.

The best thing about 2 Fast 2 Furious is Tyrese (terrific in Singleton's "Baby Boy"), whose charisma, looks and charm supply the picture with much-needed spark. It's too bad he's stuck in this spotty video game.

Though filled with charm and led by three likable characters, the picture spreads its plot points and whimsy so thinly that we can never just relax.

A tepid disappointment that contains one mediocre chase scene and a lot of wasted talent.

Good, but, sadly, not good enough. Well-acted, beautifully shot and splendidly costumed, it's superior to the original in its looks, but not as potent or meaningful in its story line.

Terrific musical numbers and interesting premise.

This film might've worked better as a comedy.

Too sugary to be funny or offensive or even offensively funny, though any kind of funny would be welcome here.

Understated fun, but not much more.

This film disappointingly feels like a sometimes brilliantly acted, often gorgeously filmed re-enactment of the television show "Unsolved Mysteries."

Its cool, glib observations, delivered by good-looking creative people who live like the cast of "Friends" gone cynical, becomes forced and often stupid. The film goes off the track enough to make for an interesting train wreck.