You will regret paying money to see something that unfolds rather like something you'd watch on TV when you're ill and bedridden and confronted with nothing else but daytime soaps.

This is phony, absolutely, but the good feeling it leaves behind is plenty real.

The heroes are villains, the villains are heroes, and in between are the innocents who become casualties in their wars waged in the names of morality and righteousness.

A stunning piece of work--stunningly inept, stunningly incoherent, stunningly awful in every single way imaginable.

Sails by on cute dialogue, some funny visual gags, and two enormously likable leads.

The inspiration appears to be equal parts "Looney Tunes" and Capcom video games like "Street Fighter II." All the energy that was missing from the recent "Mask" sequel is here, and then some.

Oddly, the film's strengths -- its quiet, understated manner; its non-plot; the awkward speech patterns and uncomfortable pauses that suggest emotional isolation -- are also its weaknesses.

Rodriguez clearly assumes Sin City to be his "Pulp Fiction," his rambling portmanteau--a blending of disparate tales to form a complete, overwhelming epic.

You'd better be in the mood for a blitz of bumper-sticker philosophy, a major machismo transfusion and 94 minutes' worth of mind-numbing repetition, complete with a musical score seemingly lifted from reality TV.

A spin-off of a sequel... It doesn't even try to be different, because it assumes the moviegoer wants only the same-ol' and then offers even less.

To say it's better than it has any right to be gives the original too much credit and the remake not enough.

A fascinating, highly literate film.

It's a work of art for sure, but a sadistic one. Oldboy is one of the year's best; it just isn't for everyone. If you're still interested, go for it.

If the first movie played like a midseason TV pilot, its successor comes off like an extended episode of a generic sitcom.

Silly, yes, but sweet and fun too.

The movie works while you watch it, with plenty of scares both sudden and psychological.

It's merely all right--very high-concept and on its way to interesting, but never there.

Much of Steamboy is actually reminiscent of "Wild Wild West," with a giant moving tower substituting for the giant spider, and the personalities of Will Smith and Kevin Kline being replaced by . . . no personality at all, really.

Certainly delivers violence and heroics, but not in a way everyone is going to enjoy -- it's brutal and harrowing.

Robots doesn't rely on being current, which will ultimately render it as timeless as any great fable. At its center is a big, beating heart.

If Allen owns The Upside of Anger, she is generous enough to loan it to Costner, who, despite the dim, glazed eyes, is more alive here than he's been in years.

It's vibrant and verdant and heartbreakingly inviting, begging you to escape into a lovely tale in which children, through a simple act of faith, find their own heaven on earth.

A clunky, obvious film, it makes the mistake of asking drama to do what documentary should.

Along with his tedious array of tricks and twists, Parkhill stuffs the film with enough dizzying flashbacks, camera jitters and rock-and-roll editing techniques to drive a 14-year-old MTV addict nuts.

Simmons plays it understated, conveying a sad-sack quality that's more relatable than Charley's irrational catatonia. The movie should have been about him instead.

Redundant to the point of being absolutely pointless, a sequel that's almost a note-for-note, beat-for-beat redo of its predecessor, only with all the entertaining stuff left out.

The first great film of 2005.

Here's a bizarre hodgepodge of influences: "Kindergarten Cop" meets "Sound of Music," filtered through the Hulk Hogan movie "Mr. Nanny." The formula, by now so overused it's actually formless, is pure Disney