The shreds have vanished in Charlie's Angels: Full Throttle, which runs at that speed during its stunts but is utterly out of gas in every other way.

After the box-office failures of "The Emperor's New Groove" and "Treasure Planet," I wonder whether Brother Bear might not be the last traditional bit of Disney animation for a while.

McFarlane’s at his best when he breaks new ground.... Yet too many things get repeated from “Ted.”

Fuqua and his writers, Alex Lasker and Patrick Cirillo, have delivered not only the most satisfying and plausible action movie in months but one that's accidentally timely.

Logan's so carried away by computerized magic that he forgets to make sense.

For all the irrelevant silliness, though, the movie never loses sight of its romantic center, and the script doesn't cop out with phony miracles or sudden changes of direction.

For a while, it’s fun to watch Bardem camp around in his rose-tinted glasses and stuck-my-finger-in-a-socket hairdo.

Might have been funnier if it had been put together with more care.

Looks as if it were thrown together as carelessly as slum housing.

Vertical Limit is like riding a roller coaster for two hours. First it's frighteningly exciting. Then it's mind-numbing

The movie is as padded as Allen's jelly belly.

I've just seen The Core, and I have a piece of advice for Hilary Swank: Don't quit your night job.

Flat as a Moravian cookie, flat as a sailor's wallet after a month in port, flat as the average European's impression of the Earth in A.D. 800.

“Train” makes its strongest impact in Blunt’s hands. Her vulnerability brings pathos to every scene she enters, making you wish the whole film could have been told through Rachel’s bleary eyes – and set in England, where she belongs. But it’s a pleasure to see her anywhere.

Once, for no reason, Franklin whirled the camera around 360 degrees while two people were having an ordinary conversation. I suspect he must have been as bored by then as I was.

Who else in Hollywood would've met a non-actor with spina bifida (Rene Kirby), created a role for him, then shot him dancing and skiing on his hands to show how easily he fit into society?

Its crass good humor makes it an enjoyable, reasonably faithful but over-the-top successor to the original.

The two actors are at their best when Emma and Dexter get emotionally naked. It's mildly enjoyable to listen to the self-deprecating banter people use to conceal anxieties, but we connect to them most deeply when they bare their souls.

There are usually good reasons why a movie gets shelved for more than a year, however well-acted it may be and however well-meaning its message. Many are on view in Penelope.

Doris Day will be 89 in two weeks, which makes her exactly half a century too old to play the lead in Admission. That’s a pity, as perhaps only she could have done it justice – if it had been made in 1958.

A question: If you hire actresses from England, Kansas, Ireland and Michigan, shouldn't someone teach them all to do believable Southern accents -- and remind them to keep doing those accents as the film goes on?

And in the end, maybe the question of Dennis' origin is irrelevant. He tells David he's come to Earth to try to understand human beings, and that quest is worth a lifetime's effort -- whatever planet you call home.

Characterizations are rudimentary, performances dull.

This movie is made by and for people who don't care about good storytelling.

As a remake of "It's a Wonderful Life" or "Back to the Future," the movies it borrows from most heavily, the relive-your-senior-year comedy 17 Again falls a little short of the mark. But as a funny, sweet and smart star vehicle tailored for Zac "High School Musical" Efron, it's right on the money.

Can I admit XXX is as deep as a Petri dish and as well-characterized as a telephone book but still say it was a guilty pleasure? Because I have to confess, when special agent Xander Cage tossed two detonators onto a mountainside and outran the ensuing avalanche on a snowboard, I was digging the action.

This might all have been silly fun -- as it was in the 1999 version -- except for the carelessness of the whole picture.

By riffing off two iconic American narratives of the last 35 years, "The Godfather" and "The Sopranos," it has changed the template for animation, making a timely film that still deals with timeless children's themes.