Seabiscuit revives the sweeping pleasures of movies that address and respect the mass audience, raising the common denominator instead of pandering to it. This crowd-pleaser rouses honest and engulfing cheers.

It's impossible not to be exhilarated by the energy and determination that infuses every frame.

A crackerjack thriller, laced with labyrinthine mysteries, moral quandaries and unspeakable evil.

There's pleasure to be had in a film that suggests teen life can be hard without necessarily being tragic.

The apotheosis of adolescent junk. Every sequence spews or splats carnage-filled effects. It's over-the-top, but not pleasurably so -- it's calculatedly over-the-top. The only way to get off on it is to revel in its prodigal waste of materiel.

Johnny English never builds any momentum, and Atkinson simply isn't a good enough actor to mine continued laughs from repetitive material.

Screwball farce, romance, domestic tragicomedy and literary frolic rolled into one.

How does an embarrassment of riches turn into mere embarrassment?

American art movies rarely come fancier or emptier than Northfork, a down-home arabesque made of angel fluff.

A first-rate sail into Adventureland.

A misfire in almost every direction.

A hollow excuse for an erotic mystery.

Not since Rocky II has there been a more blatant attempt to recapitulate a box-office hit without adding any new attraction or appeal.

The good news is that Schwarzenegger is more entertaining than ever as the Terminator T-101 cyborg.

It's a zombie flick that moves -- no stumbling, staggering living dead here -- in an atmosphere that feels like a Gothic docudrama, and it's freaky beyond all reason.

Isn't a full-bodied comedy, and it isn't a bona fide action movie, either. It just makes a facetious spectacle of itself.

Alex & Emma is a literary-minded romantic comedy that barely passes English, and flunks chemistry.

The only bits worth watching are the scenes where Olsen is in full Carrey mode and Richardson is doing his best Jeff Daniels. The spot-on impersonations take the mind off the plot, the poo-poo gags, the clunky chase scene and the ripped-off finale.

Its pleasures are slight and fleeting, and so many movies have done what it does, and done it much better, that there's nothing to get even remotely excited about - much less to draw audiences into theaters.

It's the ideal capper for a cop comedy with a refreshingly wry, adult and humane attitude.

Stars Juliette Binoche and Jean Reno give Jet Lag everything they've got. Too bad the movie doesn't better reward their effort.

Steadily, stealthily, The Eye works its way into your psyche, playing with your mind and always keeping a surprise or two up its sleeve.

So what do we have here? Lots of cars going very fast.

Whale Rider is one long, sensitive downer capped by an uplifting finale. A martyr fantasy that turns victorious -- it's a surefire recipe for arthouse crowd-pleasing.

Offers a welcome perspective, reminding us that extremism in the name of a values system is nothing new -- not even on these shores.

A spellbinder of the rarest kind and quality. It opens audiences up to an infinite variety of emotional and intellectual nuances.

Fits squarely into the "exciting" category; it's a white-knuckler of the first order.

The movie's generosity of spirit and artistry swamps its flaws.