While I have no problem with slackers making me laugh, when they start preaching, that's when my ears close and my eyes roll.

A frequently hilarious exercise in one sex desperately trying to figure out the other.

A comic-book rock band starring in a film that actually makes a point? Now that's something worth singing about.

In the Cut is a disaster. Familiar to the bone, arty on the surface, it could serve as the doomed pilot for a nightmare TV spinoff: Law & Order: Literary Victims Unit.

Apart from the movie's moments of flesh and fantasy, it lacks the lyric impulse that would make the swank fantasy take flight.

(Perry and Willis) are blown off the screen by Amanda Peet and Natasha Henstridge.

There's comfort in seeing actors we know doing what we've come to expect them to do. But more important, the film surrounds them with supporting characters who are less familiar to us, who act in ways we don't expect.

With an all-star cast maintaining an amiable tone throughout, the result is a movie in which everyone should see themselves for at least a few minutes (and wish they were that young, that beautiful and that well-off).

The Matrix Revolutions blends feather-brained, starry-eyed camp and rock-'em-sock-'em spectacle -- so it's at least more entertaining than the second Matrix film, which hung in the air like a noxious cloud.

Uneven and affecting movie.

The one perfect aspect of Jennifer's Body is its title: No one is going to like this movie for its brain.

The problem with Lions for Lambs isn't its political engagement but its cinematic disengagement. Robert Redford directs and stars in this ambitious talkathon, which would have been more effective as a radio play.

Little more than an electronic press kit for the band, produced for the benefit of its fans.

To its credit, Heartbreakers lives up to expectations. Almost.

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

Celebrates heroes without turning them into saints.

The action is thrilling enough.

Forget any hope of raffish adventure if you think of seeing Flyboys.

Costner does something difficult: In the middle of a tepid comic whirlpool, he finds the humorous aspect of inertia.

The Legend of Bagger Vance is nothing but "The Natural" with Will Smith playing the bat.

Hasn't got quite the right sound as it did in Annie Proulx's novel.

Watching The Lost City is like falling into a delirious dream on a marathon train ride only to be roused every 15 minutes by a conductor punching your ticket or barking out the next stop.

The Wild suffers from a breakneck pace that seems to exist only so that director Steve Williams can earn his nickname of "Spaz."

Better than his previous films, The Day After Tomorrow plays to Emmerich's strengths, making for a thrill ride that rarely disappoints when it matters.

Director Martin Campbell and a quartet of screenwriters dump in everything from the rise of the Confederacy to the development of Weapons of Mass Destruction. What escapes them is the cool, clear line of action that would enable Banderas and Zeta-Jones to flaunt their amorous charms without huffing and puffing and stretch their swashbuckling muscles with dash, not balderdash.

Predictable but utterly engaging, 27 Dresses will likely be remembered as the film that made Katherine Heigl an A-list star.

It might be a solid hook if we thought their love was grand. Instead, it's kind of creepy.

It's all done with such good heart, and Stiles is so perfectly appealing as one of cinema's most grounded Cinderellas.