Funny, sweet and only mildly offensive.

It's easy to be offensive in a movie; it's much harder to be funny. Which is why Scary Movie emerges as such a waste; when you're so good at the latter, why keep falling back on the former?

Chicken Little is relentlessly cute. That's the good news, and those who consider the word cute anathema may want to look for entertainment elsewhere.

Von Trier has assembled a fearless troupe of gifted actors - especially Jorgensen - to explore the outer reaches of human cruelty and vulnerability.

OK, so some of the scenes are a sham, but the mountain of suspense and adventure is enough to keep you captivated.

Isn't perfect, but it's fun, and Tim Allen shines

The real obstacle here is a lack of filmmaking imagination.

Delivers an unexpected sweetness.

Puerile, offensive, degrading, dumb, pointless, insipid and may just well be a harbinger for the end of Western civilization as we know it. But I laughed. Sorry.

Derived from a novel by former Miami Herald reporter John Katzenbach, it might be described as an inversion of the treasured '50s genre known as the Crusading Liberal Movie, as pioneered by, say, Stanley Kramer. But Just Cause doesn't just invert it, it turns it inside out, on its head, upside down and backward, then kicks it in the tail. [17 Feb 1995]

At one point, Liotta's character complains that he has ended up "in an episode of 'McHale's Navy.' " That's not too far off. If a sitcom is all you really want out of Operation Dumbo Drop, by all means, put on a parachute and jump. [28 Jul 1995]

It's hard to see Franklin's fingerprints on the material. It's as if he directed with his gloves on.

A one-joke movie. What makes it misfire is that its one joke clashes with its one idea.

Unlike Nicolas Cage in "National Treasure," Hanks lacks the game for it. The surface seriousness of these Dan Brown movies obstructs his affability and easy, attentive way with romance.

The most satisfying escape of the day was mine, from the theater, at movie's end.

The lack of condescension is the movie's saving grace, if grace is the right word. There's no snobbery to the low-blow humor, or to Reynolds' low-key, genial comeback turn, or to Sandler's more-ingratiating-than-athletic lead performance.

The film may not be art, but it's got a beat and you can definitely dance to it.

I found the sight of McAvoy as a piano player in jazzy-seedy duds a lot more disconcerting than Ricci's porcine prosthesis.

As for the Ya-Yas: They're not as much fun as the First Wives' Club.

Blues Brothers 2000 doesn't tell much of a story, but it makes for one smokin' concert. [06 Feb 1998]

The sad truth is that the film squanders almost all of its inspiration in the first 20 minutes or so.

17 Again errs not only by covering such well-trod ground, but also by doing so through a main character - played by a game but ill-served Zac Efron - who's about as dense as they come.

The film saddles Craig T. Nelson with the generally thankless role of Paxton's cold, distant dad. But when he feels like the only person who doesn't understand what's going on with Tate and his son, you feel like saying, "No, me too."

A strictly by-the-book sequel: It doesn't cheat series fans but it doesn't offer many thrills or surprises or lingering puzzles, either.

The movie's own style is strictly an anti-style, all pre-packaged post-punk.

As shallow and manipulative a movie as any that come to mind.

Shark Tale is "Finding Nemo" with bigger-name stars, far less heart and, the guess here is, about one-third the staying power.

Young Cyrus is undeniably cute, and some of her songs are as catchy as the law allows - especially "Hoedown Throwdown," But asked to anchor a full-length movie, she simply doesn't have the chops to pull it off.