If you (or your kids) loved Toy Story, you'll like Toy Story 2 as well. Just don't expect any big surprises.

Solid 007 entertainment -- not as bad as some of the recent Bonds but not as spunky as some of the series' originals.

It's filled with marvelous performances, fabulous wit, and some dizzying images.

Flawed at its core but stunning nonetheless.

A living artifact that does what movies do best: exist in time.

A confusing jumble of historical drama and modern social essay that only serves to cloud the whole field of Jane Austen studies.

Minus much of the rose-tinted nostalgia his films have occasionally engendered. There is a nostalgic tone to the film, but it's a quiet, subtle one.

Strives to depict its love-hate relationship in emotionally neutral terms, but the sympathies are ultimately lopsided.

In this instance Egoyan's hereafter is a pale imitation of his yesterday.

Besson loves his violence almost as much as he loves his leading lady.

One of the most intelligent, engaging, and gut-bustingly funny revelations to come along in a while.

It's a hockey affair at the best of times.

There is a new definition of the term, "critic-proof movie," and it goes by the name Pokémon: The First Movie.

This is one movie best left unattached.

Like a car crash in slo-mo, it's a riveting, beautiful mess.

Much of the film is frankly ludicrous, but that does little to dispel its overall power and passion.

A revealing, heart- and mind-engaging insight into a uniquely American character type many of us may have known.

A middling urban thriller that's one part "Rear Window" and three parts "Seven."

It's all a little too polished, a little too smug to be ranked up there as one of the great journalism films.

In contemplating whether the world will end with a bang or a whimper, it reveals a little something of the human condition as we enter a new age.

There's an undeniable energy, originality and -- most hearteningly -- optimism here that makes Beefcake well worth your time, shortcomings and all.

Full of nuanced performances (Streep in particular) and wonderfully enveloping music.

A sumptuous ride with breathtaking scenes and a soaring musical score.

A film for the young at heart and those who still appreciate honor, valor, love, and the earth.

A wildly inventive, unrelenting thrill that amazes us with its visual and intellectual treats and dazzles us with its ongoing ingenuity.

It's all a bit of overkill.

Deeply moral, thoughtful, and amiably humorous.

For each prejudice the film tries to shatter, it furthers a different stereotype.

It's relentlessly bad in a way that just makes those theatre seats plain uncomfortable.

A bleak, depressing film.

There's much to enjoy here as long as your expectations aren't too high.

So full of good stuff that it's impossible not to fall in love with it.

This is Martin Scorsese, and in the end, it's his town, and his show.

A wistful, humorous, but ultimately fluffy look at those halcyon days, before punk, junk, and the onslaught of the Eighties.

A relentlessly good-humored, life-affirming film.

Julien may be a donkey-boy but it's Harmony Korine, this film's director, who is a horse's ass.

Merry witticisms collide with empty clichés, leaving these characters with little trace of realism.

Failings do not get in the way of The Source providing a basic primer on the genesis and lasting influence of these cultural icons of the 20th century.

Proof positive that heavy underground buzz doesn't necessarily imply merit or even intrinsic interest.

A powerful little gem: a little bit of "The Outsiders" (the film's tone is remarkably similar to Coppola's film, minus the airy redemption and golden sunrises), a lot of "The 400 Blows," and a slice of "Radio Flyer" all wrapped up in a dirty black bow.

Its simplicity belies an emotional complexity that will linger in your mind like a gentle dream.

The gentle lift you feel in watching Defying Gravity is propelled by the earnestness of its emotions.

Fight Club's dirty little secret is it's one of the best comedies of the decade.

A moribund Harrison Ford vehicle, stodgily dull, and seemingly endless in its monotony.

Belongs in the histrionic comedy genre, packed as it is with just plain silly situations that fail to elicit grins, much less guffaws.

The work of a fine craftsman and artist.

Even at 82 minutes in length, Superstar feels uncomfortably stretched.

An amazing work, a film that seems to gurgle up from the American heartland, resonant and fully formed, ripe with possibilities.

Rollicking is the term that best sums up Plunkett and Macleane, not in itself a bad thing, just, I think, not a very good thing.

The bottom line with the film is that there's just no damn mystery about it.

A top-notch example of uninsulting kid humor at its goofiest.

A humble comic fable, puttering along with a sunny grin, a goofy sentimentality, and not much else.

Unruly girls around the world are liable to find these Bandits stealing their hearts.

A war movie with a conscience, an action movie with a funny bone, a caper movie with a shifting agenda.

The goal of Drive Me Crazy is simple: to sell tickets by selling fantasy.

Predictable piffle, a comically unbelievable story that leaves almost no impression except what a sham our legal system is.

The documentary has no narration, and uses excellent expository camerawork to say things that no narrator could equal.

Seems as though its reach is always exceeding its grasp...partly because Kasdan spreads himself a bit thin amongst the nine major characters he's working with.

Feels sterile and chilly; the humor -- Yiddish and otherwise -- falls flat, and sadly so does the film.

Quirky, but ultimately disappointing, romantic comedy.

Bogs down during several fuzzily romantic interludes.

There's a genuine, sparky chemistry between the three (and later, a fourth), and Robertson, particularly, is luminous in her role.

From the fan's perspective this is sheer bliss, the next best thing to pouring a couple of glasses of grappa and sitting down with a bona fide film immortal (and world-class raconteur) for a long, intimate conversation.

Fails in a pretty spectacular manner but, to its everlasting credit, it goes down swinging and sometimes even connecting.

It's a love story, though, and all the more poignant for being one that actually survived under such tempestuous circumstances.

Joyous ode to laughter as a way of life.

Watching Raimi's visual style and narrative verve flatten out into this pale reiteration of a middle-aged-male weepie is an exercise in modern horror.

Sex may, indeed, be all in the mind, but Romance fails to score in the mind's eye.

A brilliant, exhilarating piece of filmmaking. It may even be the best mainstream film of the year thus far.

The most lackadaisical thriller I've ever seen, overly infatuated with not only the inexplicability of random evil, but also its mundanity.

Another frivolous product of whiny male anxiety that's as funny as a sitcom but longer and more expensive.

The only question audiences are likely to be asking their higher power in the wake of viewing the film is, "What the fuck?"

Farcical mayhem. A convoluted plot that's easy to follow but hard to describe.

Beguiling performances and a story that veers between social observations, period detail, and genuine humor make this movie an end-of-the-summer stand-out.

One of the more intelligent comedies out there this summer -- it's not Brooks' best.

The finished product is as predictably dull as a newborn's soft spot.

Reminiscent of the opening moments of "Monty Python and the Holy Grail," actually, only without the clever wit.

Too sloppy, pinning psychological crime dramatics to good old-fashioned gunplay.

Williamson's directorial debut is a sad affair, devoid of shocks, surprises, or even his clever trademark diologue.

Lame, mindless dialogue makes Wing Commander seem Cukoresque by comparison.

Contemporary adult themes that resonate as much as those in Perfect Blue (stalking, the cult of celebrity) have become increasingly rare in this animated genre better known for tentacled demons and cute forest sprites; it's refreshing to be reminded that not everything in anime need feature that lovable scamp Pikachu, either.

Kaplan's lustily awful film is to be avoided if at all possible, and if not, well, don't say I didn't warn you.

Just enough laughs to keep you from feeling blatantly shortchanged.

A mildly diverting comedy but has little of real substance to recommend it.

For all its flaws, Better Than Chocolate is a fair enough entertainment value -- certainly no less meritorious overall than, say, Runaway Bride. But, like many other films that have boasted both a high likability quotient and a positive social message, it seems to be getting a bit more credit than it really deserves. And as far as I'm concerned it's no favor to allow a filmmaker of Anne Wheeler's obvious gifts to operate so far below peak efficiency.

A quietly interesting but unusually perceptive story about love and relationships.

Gleefully, goofily over-the-top.

Why remake Norman Jewison's staunchly cool 1968 heist film in such a lackadaisical, uninspired manner?

A mess, albeit one with occasional flashes of brilliance.

Often elegant, at times frustratingly uneven, comedy that is hopelessly in love with theatre, poetry, and -- for once -- marriage.

Clearly the single best, the single coolest (to borrow from Harry Knowles) animated film in a great while.

Works best when it works its mournful magic alone, without fanfare, using only the flickering fear in Cole's gaze as it meets the compassion in Crowe's.

At once emotionally charged and genuinely, disconcertingly surreal...a marvel of subdued, genuine filmmaking.

Too bad their characters are comprised of nothing but the most hackneyed clichés and that it apparently never occurred to anyone to add even sketches of believable character development.

A preposterously silly bit of work, chock-full-o' nuts and rife with the kind of plot holes you could drive a submersible ROV through.

This biting parody of flyover-state beauty contests feels like a bad made-for-TV movie of the week.

Like the cartoon on which it's based, Inspector Gadget has moments of absurd fun and droll wit, but they are fleeting and few.

Effects-driven chills rarely work as well these days as good old-fashioned audience imagination (a fact firmly driven home by the breakaway success of The Blair Witch Project). Unfortunately, De Bont has wedged so much bang-pow drivel in his film that it ends up being about as tantalizing as a desiccated Gummi Bear.