A bore... The film leaves you with the feeling, once again, of having enjoyed a lovely meal fit for royalty only to discover, too late, that the fruit was made of wax and the roast was little more than a Styrofoam mock-up.

Like most of Apatow's work, Knocked Up walks a perilous line between sarcasm and sentimentality, and though it's extremely funny in bursts, the movie flirts once too often with schmaltz before toppling into melodrama in its third act. The fault lies as much with Apatow's casting as his writing.

While occasionally engaging, The Comedian isn’t very funny.

See it for the performances – they are delights from the leads on down to the characters in the episodic vignettes. But the film’s vision of Gen-Y nesting is liable to leave you up a tree.

So silly, so garishly over-the-top, and so bracingly eager to please, that it's hard not to fall under its gleefully gooney spell.

The movie features a very cool soundtrack and more hip lingo than two ears can absorb. But, like the air in Denver, this movie is spread awfully thin.

Mainly remembered for its rather soggy haunted-house plot and the Master Showman's latest gimmick, the "Illusion-O" Ghost Viewer (a strip of colored plastic not unlike 3-D glasses which enabled audiences to see the ghosts on screen, or "remove" them when cowardice got the better of them).

Feels like an overlong "SCTV" skit. Many prime gags are recycled throughout the film, and, honestly, there's only so much Eugene Levy schtick one can take (though he does get the best Yiddish lines in the film).

Renaissance man extraordinaire Michelangelo Buonarroti is frequently accused of greed in the incohesive historical drama Sin, but the only real transgression is his pride, whether it’s nurturing his own divine genius or badmouthing the mediocrity of contemporaries like Leonardo and Raphael.

Predicated on the slimmest of notions, this debut by Jones is so cuddly-cute in its desire to be pleasing that it's all but transparent.

The performances are uniformly good and Kelly’s effort to tell an unbiased story is admirable, but I Am Michael ultimately delivers more in the way of talking points than drama.

Does little to dispel the creeping feeling that Washington’s getting himself in something of a rut.

Teetering toward made-for-TV in its facile depiction of Walter’s many wives and veering tonally from too broad to totally mawkish (the score wants to arm-wrestle tears out of you), The Friend is all soft edges.

Not an easy film to love and politically incorrect to the hilt, it nevertheless leaves its mark on you – and it’s rarely, if ever, dull.

It's a wonderfully nuanced performance in an otherwise un-nuanced narrative.

Ambling, just-passable picture.

Has its charms, but for a movie about loving radically, it sure plays it safe.

Occasional animated inserts inspired by Chantry’s work as an illustrator, while accomplished, inject an off-note of whimsy that doesn’t quite square with the script’s stabs at edgier humor.

In the final moments of the film, when the last piece of this very lovely looking landscape puzzle is placed, I couldn’t help but feel that the film was a missed opportunity for something more intriguing, profound.

This “one crazy night” taps out at lightly kooky; there’s nothing here that gets within striking distance of the sheer weirdness of "Harold & Kumar Go to White Castle" or the darkness of "After Hours", to name two genre stablemates.

The film is mostly predictable, but throws a few curveballs and ends up being surprisingly entertaining, if not at all outstanding.

It doesn't always succeed, and sometimes it has the egocentric obviousness of a particularly clever, grad-student thesis film, but at least Harrison is game enough to mess with your head in the first place.

An intriguing, disquieting, but ultimately overdrawn nightmare.

Norton's performance and the well-paced tension preceding the movie's climactic sequence provide an entertaining if slightly predictable thriller.

Julia Roberts is the only central character whose appearance is drastically different in the two time periods, and it remains to be seen if the pretty woman with the million-dollar smile will be accepted as a character bearing a pinched face and dead eyes or whether it will seem like stunt casting despite a solid performance.

There’s not enough here to carry the painstaking production design and costuming – a visual feast let down by shortage of meaning. This is a movie about perception, indeed: As beautiful as it is on the outside, the inside is completely superficial.

This film is an evocative, effective entry into the holiday blood-spray subgenre in its own right. And if it doesn't make your skin crawl ... you probably ate too much Christmas dinner.

There’s also something to be said for wanting a little bit more.