The problem is that the motion picture around these individual stunts is patently a committee-made artifact.

A cool movie and a must-see for anyone who wants to see the next stage in computer-generated animation. But it could have been so much more.

Has moments of terrific lucidity, even brilliance.

Feels like a first draft, in need of toning, pruning, and a little old-fashioned discipline. As an outline, the picture is full of possibilities.

But as objectionable as its subject matter is, the most objectionable thing is that it's not funny.

Mostly dreadful.

Gitai, a veteran documentary director, refuses to find an easy resolution to the story, and that will frustrate as many people as it pleases.

A dopey but sweet-natured I-love-to-dance film, fits nicely into the downhill-since-"The-Red-Shoes" tradition of ballet movies.

A black comedy that never gets black enough to inspire Farrelly-style decadence.

The film is Travolta's baby, but indifference and boredom is everywhere.

Hamlet, like its title character, is a mopey, dopey thing that you just want to scream at: Do something!

Stripped of the pretension of the overrated "Trainspotting," but it's also void of the earlier film's ambition or glimmers of real cultural insight.

Somewhere around the beginning of Hour Two, the narrative loses momentum, and Pino Donaggio's molasses-thick score begins to drag everything down with it. The ending also lacks the surprise twist that seems to be promised .

There is no obvious reason for the film's meandering existence: it's a series of beautifully photographed postcards of Africa.

Accomplished, ambitious, and great-looking.

The warm humanizing element in all the cool stuff is Crowe.

A perfectly enjoyable and occasionally charming ride.

Breaks no new ground and is tedious in the extreme.

Afailed attempt at a hipster screwball comedy. Very failed.

Disappointingly dumb.

Despite the frivolous feel, it's clear the director intends for Bossa Nova to be a love letter to his two passions: Brazil and his leading lady (who's also his real-life wife). Neither lets him down.

A One-Joke Show.

A fascinating combination of dare, stunt and genuine artistic risk -- often disorganized, but never less than entertaining.

Recycled "Steel Magnolias."

(Owen's) existential angst and the interesting layers of character and setting give Croupier a sharp, engaging edge.

Dumb and irritating.

A Melancholy Delight. Its pacing will undoubtedly seem too deliberate to some, but I found first-time director Deborah Warner's The Last September a delight from beginning to end.

In trying to avoid moralizing or cheap sensationalizing, Didier sidestepped any energy force altogether and his film snoozes because of it.