Sean Axmaker

The kids have good chemistry, there's some fun oddball humor stuck in around the slapstick, and the gorgeous photography of the Gulf Coast beaches, waterways and wildlife brings their mission to life.

Rambling and easygoing, Nico and Dani is a modest but frank look at adolescent lust, both heterosexual and homosexual.

Despite Clement's best efforts to make Jarrod a deadpan oddball nerd, it becomes apparent early on that excessive teenage eccentricity and terminal self-delusion isn't quite as cute in the adult male and absent father.

Full of sharp ideas and wry moments awaiting the inspired ingenuity of a screwball comedy to pull it all together. It never comes.

Whether Mann's film will make a difference, however, is another question. He devotes little time to really exploring the issues, leaving the film a patchwork of assertions that, while they may be true, have to be taken on faith.

Evening is so distanced from the emotions of the story that it never breathes on its own.

Maybe it's fantasy fatigue, but for all the pretty effects and breathless chases and goblin war battles, the sense of wonder and magic is lost in the shuffle.

Along the way the film loses sight of the joy of music that supposedly pushes them all.

A modest but amiable comedy.

Ultimately a primer. Without actually putting it in direct terms, it proposes a revolutionary solution, not just in Argentina but everywhere that the corporate culture has failed its workers and their communities.

A bland Bond.

Momentum, motivation and story are all swallowed by simple sensation, and the film finally exhausts itself for lack of stylistic imagination.

It's so affected and arch it flops into self parody.

Little Nicky will please Sandler's fans and likely won't win any converts.

Easily the least passionate romantic comedy I've seen in years.

Presents itself as tragedy with the insensitive Joe as its tragic hero, but Joe's fantasies of artistic rebellion and individualism have rotted into simple, solipsistic selfishness.

The result is a great-looking movie with an awkward balance of pulp noir and campy self-awareness.

The film is inoffensive, and Baldwin is fun and engaging.

This is one family reunion where you need someone to act up or pick a fight, anything to bring a little life to the party.

The film is thrown off balance by the weight of Norton's compassion for this troubled soul.

For all its pronouncements, it's a frothy romantic lark.

Competently directed by Christian music producer Steve Taylor, it's a sincerely (if not exactly subtly) performed spiritual drama with a faith-based lesson in humility and the practical charity of offering a helping hand.

It's funny. Dumb, yes, but funny.

To call the haphazard string of gags a story is to give it far too much credit, but it is funny in a blunt, profane frat boy way, thanks to the bulldozing energy of Ferrell, the smarmy manipulations of Vaughn and the anything-for-a-laugh excess of Phillips.

Ledger mumbles his entire performance (some of it barely legible) as a fuzzy, friendly, happily passive heroin addict and sometime poet, as if he's too blissed out to even open his mouth as he simply drifts along with his addiction.

Kilner's light touch keeps the romantic pair dancing around their romance without tripping, but as the film reaches the inevitable happy ending, the steps look all too familiar.

At times it gets lost in the backwaters, but the eccentric characters and offbeat humor make it an entertaining detour.

For all of the credibility of the performances (or at least the teens), it all feels like recycled social commentary.