Supremely enjoyable.

Any goy, too, can fall for this tripe, especially if they've a fondness for mawkish cliché, sitcom pacing, popcorn psychology, and lousy cinematography.

The final showdown between sole survivor and killer is sufficiently well done that you wonder why the rest didn't measure up.

When all is said and done, you'll likely find you have nowhere to place your sympathy, no character worth rooting for.

Indeed, this is the very kind of lame-brained folly Levy and his SCTV cohorts used to mock on their old show; now it's how he makes rent.

Perhaps realizing that rare performances in snoozers like "The Horse Whisperer" and "The Last Castle" weren't doing him (Redford) any favors, he seems to have entered a new phase in his career, with a wealth of old man roles now open to him. He was very good in last year's "The Clearing;" he's better in this.

It has but one thing going for it: a cast filled with Oscar nominees.

Well acted by an unusually likable cast.

The world of football riots seems rife with potential for the big screen, but Green Street Hooligans only periodically rises to it.

The computer-enhanced vehicle chases look fake, but the hand-to-hand combat scenes are the best of the year.

Shoddy and ridiculous.

Some fairly standard shenanigans ensue, and when the clichéd high school culture clash stuff stops, there's clichéd cop movie stuff going on.

It's hard to see why her audience seems so much more rabid than that of other, funnier comics. The secret seems to be in her appeal to the gay community.

Most of The Constant Gardener is made with good taste and with respect for its African subjects. But when Fiennes flees a Kenyan village as bandits begin their merciless attack, it's hard not to feel a little uneasy with the medium. We're meant to get a thrill out of the chase, but it's not thrilling. Sickening's more like it.

It's easily the ugliest film Gilliam's ever made, a movie shot with a lens someone forgot to wipe. It's also his loudest: Every scene is amped up to 11, and every line of dialogue is delivered as though it's a cry for help from the bottom of the well.

There's no reason to see this film in a theater -- you'll hate yourself for paying full price. Plus, you'll need beer, and lots of it, to appreciate the movie properly.

Eternal promises kink and delivers next to nothing.

If you're one of those people who complained that "Memento" could just as well have been told in chronological order, The Memory of a Killer may be your cup of tea.

Virgin is astoundingly astute but also wondrously clever, written with more care and joy than any hundred comedies to come out of Hollywood in years.

May not seem to be your typical Wes Craven movie. It's not really horror, there are no marketable monsters, and unlike "Cursed," "Scream 3" and other recent Craven offerings, it's actually an enjoyable time at the movies.

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

Tremendously funny and entertaining.

A problem with Park's naturalistic worldview is that it's hard to find anyone to root for. The movie is beautiful to look at, but hideous in its narrative.

If you love Kawasakis, Hondas, and Yamahas, and don't mind tin-eared writing, get down to the multiplex.

Ultimately, the filmmakers build toward a reasonably satisfying "Twilight Zone" climax, only they crawl toward the ho-hum ending; the movie appears to have been written and edited in a swamp too.

Definitely merits its R rating with a fearless approach that will earn genuine laughs as it turns a few stomachs. Yes, a Rob Schneider movie that's funny. Strange but true.

The movie's not great, but Mom might like it.

When it comes to World War II movies, you may never have seen one like this before -- if only because it's like three different movies at the same time.