Michael Dequina

May be formulaic but never fails to find other ways to entertain.

Smoothly seductive.

Much like how its employees and patrons don't want to see the barbershop close, once one has become acquainted with these people and this place, one may not want Barbershop to end.

Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

Robinson is more adept at the surrealism than the satire, and when the latter takes hold toward the end, the film falters; however, Grant doesn’t, and the film is worth a look if only for his fearless, funny work.

Serendipity leaves one with a pleasant feeling few films generate: that of wanting more.

Yes, this "Harry" does indeed fly -- just don't expect the movie to soar into the higher altitudes of imagination.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

Strongly infused with an unmistakably exotic Bollywood flair.

All the household changes give the film an episodic quality that leads to a certain start-and-stop dramatic momentum. But fresh face Lohman holds the film together emotionally, more than matching up to the bigger name stars that turn up in supporting roles.

Will warm your heart without making you feel guilty about it.

Ultimately comes off as so restrained as to be detached and almost as chilly as LaBute's darker films -- not exactly what one would want from a story about a love so strong that it echoes through the ages.

A faithful translation of the character and one of his more memorable tales on the page; it satisfies as an adventure and as a more intimate story.

With nothing in the way of inspiration coming on either the writing or directing end, it's up to the actors to maintain audience interest and emotional engagement, and two members of the cast rise to the occasion: Kline and Christensen.

It's throwback, formula Ah-nuld all the way, a straightforward and simple revenge thriller.

Luckily, the genuinely funny jokes far outnumber the duds in the film itself, which is helped by the generally energetic performances by Broken Lizard and their co-stars.

The radiant Blanchett makes Charlotte's individual journey from lovelorn lady to independent woman believable and involving, and that's ultimately what counts the most -- even if the destination is less than ideal.

May not exactly be an innovative film, but it most certainly is a lovable one.

But damn it if the film doesn't work as what it's supposed to be: a big, brainless blast o' boom at the box office.

Chalk up another big-name star vehicle that fails to live up to a wealth of potential.

An emotionally honest film, but it would have been far more affecting if it felt more true to life.

No less than four screenwriters are credited, yet the script is filled with the usual clichés (hello, red digital readout!) and supposed twists that can be seen a mile away.

Well-acted and skillfully made, the film offers enough that is worth seeing, but its idiosyncratic nature is sure to limit its mainstream appeal.

While watchable, skews more toward the drier expectations fostered by that publication's name then the more exciting, explosive ones associated with the genre.

The surprisingly sweet Shallow Hal finds Peter and Bobby retreating to a gentler mode -- and, in the process, a far less funny one.

Makes one interested in seeing the inevitable sequel, but one is also left to somewhat question the worth of sitting through this first installment.

The film does drag, particularly toward the end as the conclusion becomes increasingly obvious and too slow to arrive. For the most part, though, getting there is a wild and fascinating ride.

From the plotting and the characterizations to the explosions and excessive use of blue light filters, everything about Bad Company has been done and seen before.