Were it not for the performance of Foxx, the movie, which touches every base and slows to a crawl near home plate, would sink even when the score soars.

Filled with so much religious righteousness--endless Bible-readings...that the film feels more like a recruitment tool for Soldiers for Christ than a look at the bloody four-year conflict that tore this nation apart.

The best you can say of Asylum is that it plays like a topless "Twilight Zone."

If, having seen "Jackass" half a dozen times, you now yearn to watch a pair of identical twins from Texas Tech cavort in the wet T-shirt contest or hear mobs of drunken undergraduates screaming for more margaritas, here's your flick.

The cast has plenty of room to emote, but their task feels a bit empty and thankless. For the most part, they're carrying the director's water.

The soul of Gladiator is made sluggish by a maddening lack of suspense.

The best things about this numbingly predictable service-academy drama are its talented leading men.

The flashy sensationalism of The Sixth Sense -- maybe the best thing about it -- is at war with its desire for contemplation.

With the exception of Murphy . . . the rest of the cast Oz has assembled acquit themselves only adequately or worse.

An indictment--a prime example of promising material that's been Cruisified.

As Frank, a widower who falls for his son's conniving would-be girlfriend (Maggie Gyllenhaal), Arnold is a revelation.

The real fault with this movie lies less with the clunky screenplay from Himelstein than with the acting, of which there is very little of note.

There is not even the slightest trace of freshness or originality in either the script -- which was written by Ron Bass and William Broyles from a story by Michael Hertzberg and Ron Bass -- or in Amiel's stodgy direction.

Uou may choose to read My Date with Drew several different ways -- as endearing or frightening, as bleak or expectant, as the optimistic daydream of the naïve Everyman or the beginning of a problem that could only lead to a restraining order.

The whole thing has a dour resolve that undermines its attempts at humor.

There's so much EFFORT here to convince us of the switcheroo (already one of Hollywood's oldest ploys) that we soon weary of it.

All of the plot developments seem half-hearted -- which is a shame, because the star has the charm to succeed if given a better movie.

In the end narration, Shane gripes that the new corporate owners who took over Studio 54 after Rubell and Schrager's crash made the club "safe and boring." But that's exactly what Christopher has done to 54.

The movie features several political themes for adults and is mostly delightful for kids. Just consider yourself warned about the live-action Carly Simon video at its tail end.

Although meant as a light comedy-drama in which both characters are sympathetic, The Housekeeper instead proves irritating.

Although the press notes liken the movie to "Easy Rider" (why not "Lawrence of Arabia" while you're at it?), the obvious comparison is to the "Fast and Furious" franchise, which shares the same producer. Actually, the closest spiritual cousin may be "Pee-wee's Big Adventure."

The World's Fastest Indian is not likely to be regarded as some kind of masterpiece--far from it--but Hopkins once more keeps our ears open and our eyes fixed on the screen.

If it weren't for Murray, there'd be nothing at all to the film, which forgets all conventional notions of story or characterization.

50 Cent sounds articulate in his raps, but as a lead actor, he talks like his mouth is filled with food.

Kusama offers moments of inspiration, but it frustrates like hell that she couldn't nail it completely.

The ludicrous casting of Hoffman is just the fatal bit of kindling on this Joan's fire.

More well-meant than well-made, the movie is ethnically accurate (sometimes, you smother in the marinara), but its forced sensitivity can get abrasive, and the drama is full of false notes.

Schultze has a spare style, deliberately slow pace, and so little dialogue that to say it's in German with English subtitles seems to be stretching the truth.