The Dancer Upstairs would have made a suitable double feature with "The Quiet American"; both films unfold slowly, build toward an anxious climax and end with a shrug of grief.

Alternately fascinating and distracting.

The film falls short only in its refusal to take a stand on whether star Linda Lovelace was a victim, as she claimed.

If Hallström has a problem with tone, it lies in his almost supernatural niceness. Thus, what arrives on-screen is purely a man's feminism, simple and trite and beautiful and vital.

In the end, it's all just too damned much. It's more exhausting than edifying.

An ambitious, frustrating drag.

Fry establishes himself as an inspired, world-class talent behind the camera and delivers my favorite film of the year thus far.

The design is gorgeous, the dialogue delicious, and even the supporting characters prove resonant.

Here's a tip: When Vaughn and Wilson are outed as impostors and forced to leave Walken's estate, grab your stuff and walk out. You'll think you just saw a comedy masterpiece.

Like most films of its type, Something New is not tough to sit through, but the thought of paying full price to see it isn't especially desirable.

Its characters are complex and engaging, its central mystery pulls the action forward at a clip, and the performances by Paltrow and Davis are excellent. At the same time, it's a little too slick.

The movie has tremendous scope and charge and a dense period fabric, along with a volcanic performance by Djimon Hounsou, the West African actor who plays Cinque.

The film provides solid entertainment for kids but lacks any real sense of wonder and magic.

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.

This valentine to Trekkiedom (produced by, who else, Paramount) doesn't go in very deep--probably doesn't intend to--but it's also not quite the promotional piece the studio may have envisioned.

A mind-numbing, achingly post-modern advertisement for itself, which attempts to distract us from its highly merchandised nature by constantly referring to it. In other words, it's morally corrupt, but your kids will love it.

Bjork holds the movie together, her natural charisma and the overwhelming intensity of her emotions should blind a lot of viewers to the ludicrousness of the story and the intentionally rotten videography.

In a confused world, this is a movie with answers.

An engaging, family-oriented romantic comedy that should appeal as much to fans of the original movie as to viewers unfamiliar with the 1961 Hayley Mills version.

If you were ever in marching band, you'll love this; if not, stay far away.

Standing on its own, it's comme ci, comme ça, self-serious when it should be adventurous, coy when it should be revelatory. One must afford it props, though, for its proud celebration of insanity. Now that is truly creepy.

Kind of meaningless--a thriller with delights that wear off before the credits even roll, a movie you might have watched on cable some Saturday afternoon and decided you didn't really waste that much time.

Sentimental, overbearing, flag-waving--and a crowd-pleaser.

Radford has made a gripping, highly cinematic adaptation of a gorgeous work of theater.

So, if you want to see this loud but rather ordinary epic, don't expect its tricked-up cultural and theological messages to carry much water. For entertainment value, it's hard to beat the climactic siege of Jerusalem, a Ridley Scott-perfect half-hour that matches anything in "Troy" or "Gladiator" for sheer, bloody, helmet-bashing mayhem.

What makes Silverman a truly gifted comic is her timing and delivery.

John Leguizamo, in a rare watchable performance.

The droll has been made dull, a most inexplicable and unfortunate turn of events for so adored a genius, goofball work as this.