In short, Just Say Yes.

Be forewarned: The rural Irish accents may be incomprehensible to viewers who aren't accustomed to them.

The bottom line, however, is that cheap and unoriginal as The Gift may be, it sucks you in.

Though it does cheapen itself with some dreadful moments of product placement, it doesn't instantly date itself with cheap pop-culture gags; it will play to our kids' kids tomorrow just as it does today, like something made for children who don't know to expect more from their cartoons than just pleasant, nostalgic mediocrities.

In the hands of lesser mortals, this would add up to perhaps the worst movie of the year. In the hands of Denzel Washington, it manages to work magic on some who might not tolerate such shenanigans from, say, Chris Columbus.

Fails dramatically as well as ideologically.

The cynical should be warned that, as in "Blair Witch," most of the scares depend upon sound and editing rather than elaborate effects, but young director Ti West gets a lot of bang for his meager bucks.

What we're left with is half a movie about a cocky up-and-comer, and half a movie that could be one of those MTV Diary of... specials on Jerry Seinfeld.

Just might be Jim Carrey's finest screen role...The rest of the movie, however, isn't quite up to Carrey's level.

Wacky, hodgepodge and decidedly homemade, CSA nevertheless is worth seeing. Sure, it veers off into nonsense, and there are times when the film loses its center. But the premise, the passion and the scathing political commentary ultimately keep CSA afloat.

G.I. Jane is liberated, all right--from good acting and a good story.

The Wachowskis still hold the current franchise on intellectually engaging action films. It's not like I won't be heading back for a second (or even third) look.

When the action sequences work, they work well; the climax cribs heavily from 1989's "Batman," but improves on Tim Burton's finale.

Not bad at all.

The movie is facile, but mostly sweet and entertaining.

The supporting cast is strong, featuring Dave Foley, Kevin McDonald, Bruce Campbell, Lynda Carter, and Cloris Leachman.

For anyone who believes in the gorgeously messy truth of French social drama, it's a grave disappointment.

That sweet streak has grown, like a cancer, and gradually killed off any of the edge their (Farrellys) humor may have once had.

A lovely little comedy that--like its predecessor--will, one hopes, buck the odds and find its audience.

Comes straight out of the Forrest Gump School of Interpersonal Magic, and that's not necessarily a good thing.

Far superior to either "Life Is Beautiful" or "Jakob the Liar."

Willis gives a remarkable, wrenching performance: He is the most fragile indestructible man ever created.

The resulting project matters much and should be seen, but how much it'll be FELT depends on your specific level of patience for a director who presumes audience comprehension to be at about a fourth-grade level (at least he's a shoo-in for Hollywood).

The more technically proficient Anderson gets as a filmmaker, the more emotionally barren his movies become, till at last The Life Aquatic drowns in a sea of self-indulgent touches that delight the filmmaker but distance the filmgoer who wants to love the director and his characters but just can't, not anymore.

Handily in a league with its predecessor...as good a follow-up as one can imagine, given the built-in difficulties of sequels.

It's a dark lark, no more and no less, a caper comedy full of enough kinky jokes to remind the audience that, indeed, you're supposed to laugh at it every now and again.

The Interpreter dashes the suspense by talking the audience to death.

Lestat, like all vampires, is a bad boy frozen in time; because the role is emotionally static and one-note, it can't hold our attention unless it's played by an actor with deep reserves of mystery, elegance, and sexual power. Cruise has no such qualities.