Kirk Honeycutt

The film is by no means terrible -- its two hours and 32 minutes running time races by -- but those things we think of as being Tarantino-esque, the long stretches of wickedly funny dialogue, the humor in the violence and outsized characters strutting across the screen, are largely missing.

A mechanical sci-fi'er absent of logic or emotions. It functions as an expensive place-filler on the Disney release schedule and, as such, will be welcomed by only the least discriminating thriller fans.

A loud, disjointed and not terribly funny comedy, which probably is what one expects with a title like that. The unfortunate thing is, it didn't need to be.

The film never is boring, but it's never engaging, either, because its heroes hit every target in sight, while the villains, despite holstering much greater weaponry, never hit anybody. So forget about suspense.

A naturalistic drama rich in psychology and attention to details. There's no glamour here, but one false move by anyone can result in death, so tension fills nearly every scene.

Benjamin Brand's script never levels with a viewer.

The story presents a moral morass involving betrayal, illicit sex, hypocrisy and a crime, yet the film feels tidy. Only one punch gets thrown, and you sense the perpetrator regrets his action immediately. It is all very British.

Fails to exploit the myriad comedic possibilities, settling instead for broad, unconvincing slapstick aimed at 12-year-olds and gags Shakespeare would have rejected as ancient.

A passable horror-thriller for the young crowd, assuming a movie can lure them away from PlayStations.

The claustrophobic and poorly executed Caffeine is either a play in search of a movie or a movie in search of a play but, either way, it's searching for the wrong thing. What it desperately needs are laughs.

This topsy-turvy funeral produces a number of smiles, giggles, pleasant guffaws and several solid, sustained laughs. Not a bad batting average as comedies go.

9 never adds up to much. It's a dark adult film that gives itself over to the chases and frights of a kiddie movie.

The real problem is that Brugge and Haythe fail to satisfactorily pull off either the thriller or the marital deconstruction.

As an introduction to this mind-spinning festival, the film gets the job done.

Poker has proven itself a popular spectator sport on television -- at least in the short run -- but as scripted drama, where you can pretty much guess the winner of a given hand, it's dull, dull, dull.

Farrelly brothers films are looking better and better, but aren't nearly as funny as their grungy early films that hit with the stealth and vigor of guerrilla commandos. Maybe there is a kind of heartbreak here after all.

This is a hand-me-(dumbed)-down chick flick that is counting on Kutcher's tabloid popularity and Peet's unmistakable though here underutilized talents to cover up for rote characterizations, tired plot devices and a general lack of inspiration.

There is little complexity in the social, cultural or political shape of this world. So this film, directed by visual effects master Stefen Fangmeier and written by Peter Buchman in a straightforward manner, cannot escape the rote nature of such a fantasy.

A high school romp that turns a stale genre upside down with sly wit and sharp satire.

Goldberger mistakes deadness for deadpan and mere oddness for that touch of genius that allows a first-rate filmmaker to get laughs out of the contrast between gruesome acts and mundane social concerns.

Scott has an eye -- and it's a very good one -- for sieges of castles, charging horsemen, hand-to-hand combat, glistening swords arcing through the air and deadly arrows whistling toward helpless targets.

The ending underscores the old cliche about the banality of evil but getting there is meant to be the whole fun. For some people at least.

The result is an entertaining comedy for young girls and older girls who still like a good romantic fable.

The movie seems more like a '50s science fiction film of extreme paranoia or an episode of "The Twilight Zone" that even at a swiftly paced 90 minutes feels padded.

Chases romance and comedy across Europe for nearly two hours without ever quite catching either. Essentially a teenage rendition of William Wyler's immortal "Roman Holiday."

Every move is telegraphed well in advance thanks to desultory writing, routine direction and ample musical cues.

For hard-core David Mamet fans only...Edmond serves to remind you how artificial the dialogue and dramaturgy truly was in early Mamet.

The movie takes on the quality of a first-rate detective story.