Has all the charm of a canceled CBS sitcom.

An interesting film, and a good one, with a harrowing performance by Depp, whose apparent enjoyment of the role seems only to increase as his character deteriorates.

At first glance, Schizopolis may seem like no more than a grab-bag of tricks and gimmicks, but repeat viewings reveal a more coherent pattern.

This badly muddled adaptation of a complex novel chases after Guterson's many skeins and themes with no unifying principle in mind.

Isn't great; it doesn't come within a Yukon mile of its TV namesake. But it's agreeably bizarre.

Ninety percent of this thriller is absolutely terrific; but the 10 percent that fails is so troubling that it threatens to undermine all that is wonderful in the rest.

Kennedy is funny, but too cartoonish to ever identify with -- Diggs and Anderson are the real stars of the show, and need more screen time.

It's been said that a thriller is only as good as its chief villain, and, in the same way, most noirs are only as good as their suckers. Palmetto has a good sucker but not much else.

The digital computer work is smooth and convincing; the animals look as if they are talking. But their voices are either devoid of personality or grating and annoying.

There's a fascinating movie buried inside this story, but it's not the one the filmmakers decided to make. This Omen is simply too big for its britches.

A dismaying dearth of romantic chemistry -- during their brief scenes together, the two (Pitt, Roberts) actually seem afraid to touch each other -- and we end up with a Frankenstein's monster of a movie: lots of interesting pieces cobbled together with all the stitches showing.

Smith used to make movies to make fun of movies like Jersey Girl; now he's just another guy working the assembly line, which won't make you a sell-out if no one buys it.

This movie is, essentially, porn, and whether it's a turn-on is likely to be subjective to each viewer. Those who find traditional porn too artificial should be pleased.

The real find-- is Rosario Dawson, who has appeared to good effect in previous smaller roles ("Kids," "He Got Game") and just about walks off with the movie.

The theme (social breakdown in isolation) is strong, but the plot meanders, and the motivations are decidedly hazy, so its popularity probably stems from its seamless blending of naive wonder and soul-mining horror.

Disappointingly mediocre.

The long hours Davis says she spent training with knives and guns can't rescue her character from drowning in the story's hokiness. Fans will be aghast at what they see--a movie so garish and silly, even Geena Davis can't save it.

Paycheck is a terribly muddled mess, a Hitchcock homage (with generous, obvious nods to The Birds, Strangers on a Train and North by Northwest) by a great filmmaker trying to say a great deal with so very little.

Hope Floats comes lumbering along, scourging all in its path with saccharine sentimentality and bogus emotions.

Freedomland manages a seemingly impossible feat: It's both turgid AND overwrought, eliciting the shriek that fades into a yawn without anyone ever noticing. It's a wholly dreary piece of work.

It makes it clearer than ever before that these films are comedy. Granted, the sick kind of comedy that involves laughing at stupid people being ripped in half, but we know there are plenty of you out there.

Meet Joe Black takes an interesting idea--Death assumes human form and comes to earth to learn about human existence--and reduces it to a flat, uninspired, interminably slow movie.

The game is cool to watch, and the love story is assertive enough to hook even the stodgiest ESPN man.

Against all odds, the American Pie movies have actually gotten a little better each time out, though that's certainly not to say that they're, uhhh, "masterpieces."

As good as all the actors are, the scuzzy characters are so one-dimensional that the film falls flat.

Instinct offers gorillas in the midst of one mediocre movie.

Ultimately only Moore, with her eyes always half-damp and voice half-cracked and body language half-mad, keeps the movie on the ground, when it too often threatens to fly into the thin air, where the audience would laugh it off the screen.

Eternal promises kink and delivers next to nothing.