Robert Horton

As flat as the brim of a Mountie hat.

This impeccable ghost story is utterly old-fashioned, a straightforward suspenser with no twists.

A weirdly stillborn experience.

Everything about the movie is fine and dandy and dull.

Beautiful is a mess, but not without interest.

This film, a remake of a hapless 1974 cheapie of the same title, can't even get the big chase right.

Serves up the usual homilies, but it lacks the quirky density and cinematic snap.

Exemplifies the subpar state of movies today.

So wound up in its own bungee cords, it leaves itself hopelessly tied in knots.

This fantasy-tinged romance leaves a distinctly bitter aftertaste.

Edward Norton, who created a buzz of excitement in his first year in movies, stubs his toe with Worm... It's the same guy we've seen in countless mean streets pictures, but Norton doesn't find anything new to do with him. He's Ratso Rizzo defanged.

There's something about The Woman Chaser that isn't quite thought through, in a basic way.

She (Lopez) wipes away the unpleasant memories of "The Cell," and serves notice to Julia and Sandra that there's another girl out there who can do romantic comedy-even of the half-baked variety.

I'll be damned if I can figure out how its various ingredients are supposed to blend together.

In this case, I have to say, the sense of boredom.

Not terribly enjoyable to watch.

The plot is convoluted.

Has its dull spots, and is unintentionally laugh-out-loud funny at times -- but isn't that what we expect?

Moss -- in her first big role since "The Matrix" -- is the main reason to see Red Planet, a badly written and visually scenic space opus.

Does have its share of bona fide chuckles, but it falls shy of its possibilities.

This is basically a movie about one neurotic woman and her neurotic L.A. life. .

It's a notch above average, but Whatever It Takes can't get too far above that notch.

The scene doesn't amount to much more than a logical extension of its lightweight premise.

The opening reels here promise something big, but the movie settles for a sour, predetermined funk -- "Lord of the Flies" as imagined by a Nintendo junkie.

I haven't got the slightest idea whether these characters are meant as satirical targets or as a reasonably fair cross-section of Today's Youth.

It's only when you see the movie that you discover how completely the film misses opportunities to develop these ideas into anything like movie comedy.

It's like one of the baker's cakes, handsomely rendered on the outside but lacking flavor.

Even on its own terms, it stays sluggish.