Proves that a movie can be true to life and still seem utterly preposterous.

The script for this action vehicle is like something you'd find under the cushions of Steven Seagal's couch, but Diesel, to his credit, digs into his role as if it were Hamlet.

Melville's seedy characters and engrossing friendships are well preserved, thanks largely to strategic redeployment of his crisp dialogue. As revamped caper films go, this offers considerably more texture than Steven Soderbergh's "Ocean's 11."

There's something self-defeating about approaching an unconventional artist so conventionally, and the story becomes touching only insofar as it overrides much of what made Duras special.

Offers a fascinating inquiry into memory and art, mixing clips from Fellini's films with contemporary shots of the same locales in and around Rome.

The talented cast--manages to rescue the movie as well as the earth.

Warmly recommended to viewers who like their romantic comedies small-scale but life-size.

The tragic tale that emerges is full of powerful lessons and impenetrable mysteries

The thriller plot, while serviceable, registers as somewhat gratuitous, but the Buenos Aires locations are nicely used.

This effective, well-paced antimilitary thriller has more conflicting flashbacks than you can shake a stick at.

I wondered if the movie would end with a round of knock-knock jokes, but instead there's a hilarious trash-talking session with the four guys sitting around gutting one another like fish.

The gags come fast and furious, and though some are a little stale, Rock and cowriter Ali LeRoi strive for wit over crudity.

The tone seesaws between comic wackiness and romantic sincerity, with Paltrow better suited to the latter.

For most of the running time I was mainly confused, as well as mildly nauseated by the gross-out details of a tale that tends to be more slimy than scary.

Cuba Gooding Jr. is the kind of guy who does ten minutes of shtick every time the little light in the fridge comes on, and for years I've been waiting for him to just go away. If this dud comedy is any indication of the scripts he's getting, I may not have to wait much longer.

Indifferently scripted and shoddily animated feature.

The film asks us to embrace not only the death of beauty but the beauty of death.

The chills are functional at best and the attempts at pathos negligible.

A turkey of Rubenesque proportions.

In one slack exchange, Del Toro intimates that the government wants to shut him up because he knows too much, but apparently someone decided that this thing was silly enough already and the matter was dropped.

Though the film lacks the frantic imagination of its inspiration, Robert Rodriguez's "Spy Kids" franchise, grade-schoolers should still enjoy its fresh-scrubbed humor and fantasies of youthful omnipotence.

Fine character work by Juliet Stevenson, Archie Panjabi, and Bollywood regular Anupam Kher make this well worth seeing.

Flat and unconvincing.

By turns morally compelling and racially paternalistic, this provocative drama may be the first halfway truthful war movie to hit multiplexes since "Three Kings."

For the most part this is a scenic and well-scored Holocaust survival tale.

McDormand has never been better, but all the performances are interestingly nuanced, including Natascha McElhone's as one of Bale's fellow psychiatric interns.

Eugene Levy is the only actor who emerges relatively unscathed in such a fetid climate; as for Joan Plowright, I hope she took home a healthy check.

Stupid, vicious, and pretentious, though you may find it worth checking out if you want to experiment with your own nervous system.