I laughed at American Pie 2, yes, but this is either going to be the last "Pie" movie or they're going to have to get a new angle.

Likely to entertain kids, who seem to like jokes about anatomical plumbing. For adults, there is the exuberance of the animation and the energy of the whole movie, which is just plain clever.

Nastassja Kinski, in one of her most affecting performances, does much to convey the turmoil going in her soul.

In drawing out his effects, Amenabar is a little too confident that style can substitute for substance. As our suspense was supposed to be building, our impatience was outstripping it.

It's intense and involving, and it doesn't let us go.

The movie itself isn't as interesting as the conversations you can have about it. It duplicates Thomas' miserable world so well we want to escape it as urgently as Thomas does.

The movie is not intended to be subtle. It is sweaty, candle-lit melodrama, joyously trashy, and its photography wallows in sumptuous decadence.

Movies like this are not for everyone, but arrive like private messages for their own particular audiences.

Tucker's scenes finally wear us down. How can a movie allow him to be so obnoxious and make no acknowledgment that his behavior is aberrant?

A march through the swamp of recycled ugly duckling stories, with occasional pauses in the marsh of sitcom cliches and the bog of Idiot Plots.

More than ever it is clear that Francis Ford Coppola's Apocalypse Now is one of the great films of all time. It shames modern Hollywood's timidity. To watch it is to feel yourself lifted up to the heights where the cinema can take you, but so rarely does.

Burton's made a film that's respectful to the original, and respectable in itself, but that's not enough. Ten years from now, it will be the 1968 version that people are still renting.

It may be that a relationship like the one here between Rosalba and Fernando is impossible in real life. All the more reason for this movie.

In its mastery of its moments, Jackpot has charm, humor and poignancy. What it lacks is necessity. There's a sense in which we're always waiting for it to kick in.

I want to escape, Oh, Muddah Faddah -- Life's too short for cinematic torture.

Amusing enough to watch and passes the time, but it's the kind of movie you're content to wait for on your friendly indie cable channel.

A typical Kitano film in many ways, but not one of his best ones. Too many of the killing scenes have a casual, perfunctory tone.

America's Sweethearts recycles "Singin' in the Rain" but lacks the sassy genius of that 1952 musical, which is still the best comedy ever made about Hollywood.

There's some kind of pulse of sincerity beating below the glittering surface, and it may come from Mitchell's own life story.

I wanted to hug this movie. It takes such a risky journey and never steps wrong. It creates specific, original, believable, lovable characters, and meanders with them through their inconsolable days, never losing its sense of humor.

Not as awe-inspiring as the first film or as elaborate as the second, but in its own B-movie way, it's a nice little thrill machine.

Not a great movie, but as a classic heist movie, it's solid professionalism.

A peculiarly entertaining comedy, revisits the rapport that Favreau and Vaughn had in "Swingers" (1996), and rotates it into a deadpan crime comedy.

A featherweight comedy balanced between silliness and charm.

Larry Clark's Bully calls the bluff of movies that pretend to be about murder but are really about entertainment. His film has all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing.

The story is nuts-and-bolts space opera, without the intelligence and daring of, say, Steven Spielberg's ''A.I.'' But the look of the film is revolutionary. Final Fantasy is a technical milestone, like the first talkies or 3-D movies.

It's nice, but it's not much of a comedy.

I like the movie on a simple physical level. There is no deeper meaning and no higher skill involved; just professional action, well-staged and filmed with a certain stylistic elegance.