Michael Dequina

As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.

Confirms that despite all the technical tools at their disposal, one thing counts head and shoulders above razzle-dazzle eye candy (or anything else, for that matter): the story and characters, and Monsters, Inc. introduces worthy additions to the Pixar pantheon.

The love story that is supposed to drive the film fails to ignite a single spark--and, hence, the film fails to generate a single iota of interest from the viewer.

The title not only describes its main characters, but the lazy people behind the camera as well.

Smart, complex, and engrossing idea-driven action thriller.

With Simone, Niccol makes what seems like a preposterous idea not only fresh and entertaining, but most of all reveals said idea to be not at all far removed from reality--as any good satire should.

Nothing sums up Bones better than its parting shot, in which maggots are projectile vomited directly toward the audience. How so very appropriate.

The saccharine conclusion would be problematic in any film, but given how much talent is involved, it's especially disappointing here.

This film is a messy jumble.

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

Any embedded message ultimately pales in importance to moving and understated story of love.

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

There's a fine line between inspiration and manipulation, and from its first frame, Joshua crosses it and never looks back.

To complain about the lack of originality is to ignore the real wit and joy behind this very fun film.

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

Should the likes of Burstyn, Flanagan, Smith, and Knight have to be reduced to playing eccentric caricatures of aging Southern belles?

Without a doubt, making the most substantial impact is Thurman. While she has proven her versatility over the years, her work as The Bride shows that her talent is matched by her fearlessness.

Surprisingly lifeless monster movie.

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.

Despite the inherently moving story and the respectable work of director John Lee Hancock and the cast, something remains absent throughout the entire film: a certain sense of verve and personality.

Whatever distinguished "Riding in Cars with Boys" the book certainly doesn't show up in the movie.

Incredibly dull.

Spears, Davis, and company are well aware that they're making nothing more than the cinematic equivalent of Spears' glossy bubble gum pop -- but that's exactly the problem.

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.

There's no question that Meg Ryan is the queen of romantic comedies. Yet for every piece of frothy fluff that works -- there comes a couple where you just want to say, "Enough already." Kate & Leopold is one such movie.

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

Smoothly seductive.

Indeed, a triumph of love: love of performance, love of joy, and, above all else, love of love itself.