Paula Nechak

This collision of popular Emmy-winning TV shows is strangely uninspired and, well, a bit dull.

What remains is a sumptuous-looking film that sniffs at but ignores deeper Freudian implications.

Racing Stripes is oddly torn in tone: is it an old-fashioned family drama, a coming-of-age story or a crass comedy? Live action or animation? Unlike "Babe," it fails to integrate its conflicting personalities.

Hunt and Johansson, two usually good actresses, are vapidly awful, teetering out of their elements in this shakily drawn period piece.

The film leaves an acrid taste with the viewer who sits through its long and winding tale of tortured courtship.

The restless, selfish, unfriendly people created by Lachow as protagonists only make the movie hard to warm up to. It's more akin to fingernails scraping a blackboard than an updated morality play.

The film is dominated by computer-generated effects and they're most of its problem -- they don't give us anything to emotionally attach to or invest in.

Strikes a universal chord, no matter what rung of the popularity ladder we were on in high school.

This bloodless, nuanced little thriller carries small weight save for Huppert's enigmatic, thrifty performance.

Certainly kept the toddlers (including mine) at an advance screening engrossed, but for parents and reviewers, it was more of a struggle.

This journey is clunkily rendered, clouded by an avalanche of murky symbolism.

If you can forgive some woeful casting and a plot that is as creakingly thin as an old staircase, you can enjoy director Christopher Nolan's The Prestige.

Feels the scratches of too much time and tinkling and is as disjointed as a dislocated shoulder.

Lawrence uses the stand-up forum less as a weapon to blast us with his incisive, razor sharp insights into life, sex and ethnicity than as a pulpit or confessional to chronicle his rehabilitation and reformation.

Flies coach instead of first class, despite a charismatic cast.

Not only did it not engage the adults, its lackluster story line didn't spread much illusion or magic over the kids in the audience either.

It has a frenetic, unsettled edginess that chafes against its serene, woodsy, upscale private school setting.

Works best when it devotes itself to the small group of main characters featured on the show.

Attempts to do for "The Big Sleep"-type detective movie and film-noir genre what "Blair Witch" did for horror films.

Though the cast is talented, the script is a mess. It's essentially a collision of missed opportunities.

There's not an original idea rattling around in the empty-headed but gorgeous-to-behold period film.

A pedestrian movie with a predictable romance at its heart.

A mystery that isn't mysterious, a thriller that's barely thrilling.

In the end, it trivializes the psychological complexity of the girl's post-traumatic stress and betrays a game group of actors who struggle to find balance between the alternately dark drama and the silly, over-the-top melodrama.

A mess of incohesiveness and fragmented storytelling.

Craig's got the stuff but the ending of this cake is soggy for its protagonist and audience.

Meanders as aimlessly as its drugged-out characters.

It's a methodical, friendly fairy tale in which everyone is good and the outcome is a given.