Maitland McDonagh

There's some fun to be had in seeing two of TV's resident sweetie pies, Campbell and ER's Noah Wyle, play unrepentant sons of bitches, but it's not enough.

Painfully unfunny and misguided to boot.

The film's greatest asset is Linney, whose prickly, finely calibrated performance as the doomed Harraway makes her loss resonate more powerfully than any of the point-counterpoint rhetoric.

The film satisfies on both visceral and emotional levels.

It's a silly, stupendously artificial enterprise.

Driven equally by big questions and the abiding desire for small pleasures, like a decent cup of tea, it's an eccentric, mind-bending head trip that greets every catastrophe with an endearingly goofy smile that embodies Hitchhiker's Guide's Zen mantra: Don't Panic!

This old-fashioned Western about the glory years of the Texas Rangers, cast with fresh-faced, telegenic young actors whose performances range from adequate to awful, is undermined by a serious lack of true grit.

The film's a trifle, but a beautifully crafted one.

Neither cheerfully naughty nor suffused with gauzy prurience, it evokes a time of turbulent (and often ugly) emotions with disquieting intensity.

An oddly lifeless affair, though Gretchen Mol's sunny performance almost hauls it out of its doldrums.

This moody film is ravishingly beautiful to look at -- but the story's fairy tale atmosphere doesn't entirely mesh with its psychological underpinnings.

This slow, derivative chiller (which lifts liberally from "Ghost Story," "Rear Window" and "A Stir of Echoes") wastes far too much time on red herrings and telegraphs its plot points with painfully obvious dialogue.

The film's uniformly excellent performances are a delight, and fans of Irish actor Farrell (whose pitch-perfect American accent has served him well in Hollywood) can hear both his natural inflections and his singing voice.

Like the fresh-faced leads, the film is an unexpected charmer.

An amateur in the best sense of the word, Dobson is an engaging ambassador for a life of the mind lived firmly in the real world.

A deep and astonishingly authentic streak of melancholy runs through this fifth sequel to the 1976 sleeper that made both struggling actor Sylvester Stallone and hard-luck slugger Rocky Balboa international stars.

So crammed with plot twists that it's hard to follow, simultaneously ludicrous, sappy and casually dismissive of all the things Hollywood holds dear.

Though the story eventually runs out of steam and it's never clear why the night-crawlers torment certain children and then come back to get them, fledgling screenwriter Brendan William Hood and director Robert Harmon -- whip up some effective suspense sequences.

If you were to strip the "Austin Powers" films of their juvenile lewdness, psychedelic decor and swinging soundtrack while leaving intact the potty humor and pratfalls, the result would be something very like this pointless spy spoof.

An old man's movie, filled with regret over things lost, corrupted and spoiled.

The insidious influence of too much therapy permeates this misguided and very long picture.

Ethan and Lenny's story is silly, good-natured and full of unlikely moves, just like the titular twister.

But the real marvel is that beneath the ghoulish in-jokes and horror-geek allusions, there's a core of the same bittersweet truth that makes the best fairy tales resonate from one generation to the next.

Their doomed fling is oddly hypnotic and ultimately haunting.

This high-concept gangster picture tries unsuccessfully to duplicate Reservoir Dogs's(1992) hair-raising high-wire balance between dark comedy and violent crime thriller, undermining some entertaining performances and the script's small virtues in the process.

In a film about the ruthless corporate destruction of small businesses, it's hard not to flinch at the prominent placement accorded IBM, Starbucks and AOL logos.

Despite its failings, Wind Chill represents a road rarely taken by 21st-century American horror films: Original (in the non-remake sense of the term), subtle and restrained.

Bloated and incoherent.