The actors are capable, but the direction feels stilted, the pacing sluggish, and the story obvious. The film plays like an ABC after-school special.

The voice acting is adequate, but it fails to convey the diversity or personality of "Chicken Run" or "Shrek."

Not everything jells, but Click is funnier and more elaborately clever than anything Sandler's done in years.

Overloaded with oddities but a bit short on horse sense, this is one of those stubbornly defiant, attitude-driven movies that's so busy scrambling genres, breaking rules, and dashing expectations on the road to becoming art that it slips off into the ditch.

It's a mess, absolutely, more a collage than a narrative.

The skeleton's a hoot, and the score, credited to the solo-monikered Valentino, is pitch-perfect. Some judicious editing would make a huge improvement, however, because even at 90 minutes, it feels like Blamire's stretching the joke a bit thin.

Deserves more than just a look.

The opening credits -- animated sequences that spoof airline safety cards -- are a high point, but if you're not a prude, the rest of the flick ain't bad either.

What a shame to squander the dramatic riches of Jones's life on third-rate caricature and paint-by-numbers storytelling.

This might be the most predictable movie of the year, but at least it delivers everything you expect it to.

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 quintessential "family entertainment."

A thoroughly unremarkable police action movie starring the magnetic Samuel L. Jackson.

All in all, the only lesson here is how to irritate. This is a stupid movie for stupid people. If you're a stupid person, knock yourself out. Please

Nobody can convey more while doing nothing than Thornton. And while his minimalist style is appropriate for the ironically named Levity, what is conveyed never quite generates the emotional charge of "Monster's Ball."

Taylor and Pearce just aren't believable.

The whole thing seems to meander aimlessly, rarely creating a chill.

The latest entry in the "next 'Full Monty'" sweepstakes.

The first great film of 2005.

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

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

Unlike the original, there's no R-rated grit and no familial executions -- gotta get the young-skewing WWE fan base in there.

In short, the film is emotional, perhaps even sentimental, but it strenuously avoids the sort of blatant manipulation that marks cheap sentimentality.

Its greatest flaw is the casting of Miller ("Trainspotting," "Hackers"), who continues to have virtually no screen presence...For all that, Plunkett & Macleane is fun.

Chris Rock gets to direct himself, and as a result is finally starring in a laugh-out-loud funny movie.

Hamburg's smartypants banter is a bit spotty, but the bathroom humor, of all things, hits the mark, and Stiller's trademark wide-eyed bafflement wins the day again.

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

Deserves an A for ambition, but the final product is a pastiche of too many predecessors.