Michael Dequina

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.

There's no excuse to come within a hundred feet of a screen playing this monstrosity of a movie.

Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.

Sophomoric silliness.

The oh-so-convenient convergence of plot threads at the climax make the film feel that much more run-of-the-mill.

A sour attempt at making a Farrelly Brothers-style, down-and-dirty laugher for the female set.

All crass in its empty bluster and bogus uplift.

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.

Not that the lackluster love story will matter any to the Sandler faithful, who are there to see the star beat people up and work his regular joe mojo on snooty types; those viewers will certainly get their fill and then some.

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.

Martin Lawrence can be hysterically funny. You'd never guess that from watching the remarkably wasteful endeavor known as Black Knight.

The real "disturbance" in Domestic Disturbance is not in the home, but in the careers of all involved.

Patrick Sheane Duncan's script deftly weaves together the stories of Serling and Walden, and Zwick remarkably sidesteps the trap of sticky sentiment--an idea further carried forth by Ryan's admirably against-type (and shamefully unsung) performance.

Just one of those films, a bottomless well of snark fodder that may come and go in theatres but will surely be spun innumerable times on DVD at parties in the years to come.

Doesn't even reach the campy, trashy highs (or should I say "lows"?) of "The Crush."