What ensues is never exactly unpredictable, but always witty, fresh and fun.

Kate Hudson's accent is spot-on, and she brings her megawattage to good use on the Gershwin standard, "The Man I Love."

A completely different order of cinematic existence than any other film you're likely to see in the near or distant future.

Unfortunately, whenever the story quiets down for exposition or to move the plot forward, it all becomes a grinding and often confusing bore.

Mostly he's (Fraser) trapped in a sequel that's too wrapped up in a desire to top itself.

Horror presented without restraint or apology, as a full-bore, blood-soaked load of nomad nastiness caught in constant forward motion.

Has its - very - occasionally funny moments, so does a car crash.

Little entertainment value.

Were the casting stronger, the film -- would have had a better chance of transcending its lack of subtlety.

For Stallone, and his original script for Driven reflects a more mature, self-effacing perspective.

An insistent, insinuating film -- both in terms of its plot and characters, and in its impact on the viewer -- Harry's effects are small-scale but so perfectly pitched that they never seem small.

Hogan's rough-and-ready charm remains intact, but it's not enough to salvage this instantly forgettable movie.

Gorris has beefed up the role of Natalia (Watson), with the end result that the film's emphasis is appropriately divided between the two characters in an emotionally satisfying way.

Lots of movies deal with friends and lovers of a certain age growing apart. But few can hear, as Thraves does, the sound of death chains rattling in the background.

Do not bring children to this movie unless you want them to have nightmares for weeks.

In this case, I have to say, the sense of boredom.

The movie gives us episodes from her life, and although some of them are charming and all of them well-played, I occasionally found myself wondering why I should want to be interested in this person.

The fact that this film, so sensitive to woman's plight, was made by a man is perhaps cause for a little hope.

It's only when you see the movie that you discover how completely the film misses opportunities to develop these ideas into anything like movie comedy.

Fails as a movie, it works OK as a long-form video.

Not even Goldberg's near-flawless central performance can polish Kingdom Come beyond mere soap opera pap.

Funny, immediately and consistently engaging, and -- well done on almost every level.

As executive producer of the film, he (Freeman) clearly sees something in Alex Cross, a man much more interesting than the cheesy plot surrounding him.

Renders the net result fairly squarely unenjoyable, on almost any level.

An exquisite trio.

It does yield solidly comic performances.

The animation is only marginally better than the TV show, which means it stinks, and the story is pretty trite.

Has a real sense of the wonder of the early years.