If I were 8, I would want to see it 800 times.

An oddly flat, quirky romantic comedy.

When the youngsters are out of the way and old pros Hackman and Weaver work, it's hard to really dislike Heartbreakers. Sometimes, it's even a little bit of harmless fun.

The brothers (Farrelly) produced Say It Isn't So, which bears their stamp in every frame and features all of the elements their movies are known for, except one: laughter.

Enemy at the Gates will pique your interest in the Battle of Stalingrad, but it leaves that interest sadly unsated.

Fiendishly tricky contraption.

Sitch keeps the tone consistently light, scoring big laughs all the way to the film's climax.

Not about sex; it's about leaps of faith, at work, in love, in life.

It takes a concerted effort to make a movie as relentlessly stupid and grating as 15 Minutes.

Thanks to a superb cast headed by the popular Brazilian actress Regina Casé, this unorthodox tale is ultimately believable.

PG? Please. Might as well take a kid to Hannibal. At least that one was funnier and didn't implicate any noble breeds in its violence -- just humans.

Surprisingly enjoyable.

Oddly entertaining ride.

A shapeless, chaotic, overly frantic comedy that manages to make almost no sense, even if you're paying close attention.

Celebrates a larger-than-life heroism that is, sadly, all too rare.

If your kid is a fan of Disney's "Recess," one of the hotter properties on ABC's Saturday morning cartoon lineup, the new inspired-by-the-TV-show movie, Recess: School's Out, will be quite a hit.

The enigma of Reeves, sort of a human black hole on screen, works well in "The Matrix" but it drains the life from weepy romance.

Nothing overly dramatic happens during the course of The Taste of Others but the characters prove to be engaging and their quite real human emotions are enough to carry it.

The timing is off, the gags lame, the twists predictable, the crudity rampant and unamusing.

Brutal and devastating.

It's best to just enjoy Hannibal for what it is: A decadent, elegant waltz about evil's seductive bloom. As sequels go, you could do a lot worse.

A dreamy, ravishing ode to romantic longing, and it is bound to frustrate people who like their movies to get to the point, or at the very least have one.

The movie ultimately turns out to be less about sex than it is about the point in a friendship where two people decide they will both be better off if they part ways.

It really is terrible the way films are being marketed to teens. They deserve decent movies, but instead they get glop like Head Over Heels. There ought to be a law.

The Wedding Planner dissolves into a mopey, leaden romance that piles on the contrivances before limping to its foregone -- and rote -- conclusion.

The solemn, morose tone of The Pledge also guarantees a quick box office death: This is essentially a movie about bad things happening to good people, and if you have any interest in seeing this beautifully made bummer, don't wait too long.

Annie DeSalvo, a first-time director and screenwriter, can't escape the made-for-TV feel but does manage to give her cast, mostly once-big names fallen from grace and popularity, flashes of humanity between lessons about various saints and sermons disguised as dialogue.

Snatch is admittedly superficial, if not downright disposable. More importantly, though, the movie is also fantastic, cheeky fun.

This bleak, oh-so-dark comedy is one of the best movies you almost didn't get to see.

Frenetic, maddening, exhilarating, ridiculous, fascinating farce of an action-comedy-thriller-mystery-whatever.

All in all it's a decent, well-put-together romantic drama to hold hands to on the weekend.

Monumentally silly thriller.

As magical as "The Wizard of Oz," the film leaves its spare setting and blooms into action in a colorful springtime world to tell the story of an epic romance lush with silken costumes, giggling courtesans, comic servants and rulers cruel and compassionate.

Worth seeing for Dafoe's performance alone, a singular mixture of camp and pathos that echoes the tragic, romantic allure of vampires in literature and film.

Where Traffic stumbles is in its inability to engage the heart with the same fervor it engages the intellect.

It's like a tantalizing CliffsNotes version of what could have been.

A dreamy, passionate ode to freedom -- of thought, of expression, of every person's innate right to simply be.

While House of Mirth is well done as a period piece, it has such an eerie contemporary resonance that you nearly forget about the horses and corsets and lamplight.

It's a simple message, and it's delivered with a grace and subtlety that's rare in would-be blockbusters.

Remains naggingly hollow, a cerebral exercise in whimsy that isn't nearly clever or funny enough to seem like more than grand self-indulgence.

Sidesteps from the premise of "It's a Wonderful Life" far enough to avoid copyright charges, but not far enough to avoid unfavorable comparisons

The players are game. Too bad they don't have much of a coach or a plan.

A surfeit of farce and fast-talking makes up for a lack of plot.

The movie is not without its pleasures. Chief among them is Sean Connery's robust performance.

She (Blanchett) single-handedly forms the human heart of this engrossing, if ultimately preposterous, supernatural thriller.

A wobbly fantasy that relies on the actor's mischievous energy and rakish charisma for its laughs.

Some of the most riveting passages of the film are Harris slathering skeins of rich color, dipped fresh from cans of house paint, onto canvases stretched out on the floor.

Thanks to myriad animators, the characters cavort, laugh and struggle against stunning backdrops, from lush jungles to cascading waterfalls. Groovy? Absolutely.

Like binging on a bottomless box of truffles: Tastes good and sweet at first, but after a while, you start feeling a little green.

What appears to be the thrust of the story -- the unraveling of a society -- loses out to a tame, romantic triangle subplot.

A hostage drama without any tension. It is a love story without any heat. It is as curiously empty a movie as we've seen all year.

A splashy, silly movie that inexplicably stars Jeremy Irons but will delight 10-year-old boys across the realm. Regrettably, the hordes of pre-adolescent boys it would have delighted most were that age 20 years ago.

A soaring, exhilarating fantasy grounded in earthy emotion, Crouching Tiger more than lives up to the hype.

This playful, immensely entertaining movie knows that art is in the eye of the beholder.

As absorbing as much of it is, Unbreakable winds up as a mild disappointment. But it leaves no question the hype around Shyamalan is well-deserved: This guy has a huge career ahead of him.

The dullest, clunkiest, big-budget fantasy since Steven Spielberg flattened Peter Pan in "Hook."

There's nothing in Bounce you haven't seen before, but the movie is surprisingly unsentimental, the Paltrow factor cannot be denied.

The 6th Day gets a lot of mileage out of Schwarzenegger, who once seemed incapable of playing anything other than a cartoon but is becoming more and more of a "real" person with age.

Where it succeeds smashingly is in the sound department.

Gripping, made more intense by the knowledge that all is true.

One of the most rewarding and engaging movies of the year. Don't miss it.

It does boast loads of cool gadgetry and some impressive special effects. It's not much, but at least the movie always gives you something to look at.

In an effort to turn Brashear's life into a larger-than-life sermon, Men of Honor almost manages to make it all feel like an overbearing crock.

Deliciously confusing.

Sweet but colossally dull relationship movie.

The lack of cynicism is refreshing, but someone needed to tell Redford pixie dust and a nine-iron will only get you so far.

Glover and especially Bassett give strong performances, shaking off their Hollywood patina and losing themselves in these gritty roles.

Shot mostly with a hand-held camera and in the gray hues you expect from the gruesome landscape, Kippur is highly sophisticated in its action scenes.

The most charming bad movie ever spun off a hit TV show.

Lucky Numbers is like stuff bought at an outlet mall. Sure, it's got the brand names and designer labels, but the color's a little strange, the style a little off, and nothing fits just right.

A wrenching film.

The movie is a little long for kids.

If you're going to direct a piece of crass, nonsensical junk, at least have the decency to release it straight to video, where it belongs.

It's a cute and clever good-vs-evil parable.

The rapturous power of music has rarely been captured as purely and joyously as it is in Calle 54.

A mix of slapstick, melodrama and jaw-dropping stunts.

The only thing the movie lacks is a pulse.

Winds up making a very good case for never going out of your way to help anybody.

Gere has never been better cast.

Unsurprisingly, relentlessly awful.

Compared to manipulative tearjerkers like "Pay It Forward" or "Men of Honor," Billy Elliot is a model of restraint, one that earns its warmth the hard way -- by making us care about the people who are going through familiar steps.

The characters are easy to overplay, but the ensemble keeps its feet on the ground.

The most intriguing thing about Lost Souls is how it managed to attract so much talent.

A brilliant film by Lynne Ramsay.

Heavy-handed and manipulative, it also proves formidably engrossing.

So impressive you welcome each and every one for the film's 48 minute duration.

Angry, potentially offensive movie.

Calling a comedy old-fashioned nowadays might seem like a backhanded compliment, but that's precisely what this genial, funny movie is.

Easily the most searing movie-going experience of the year.

Gets everything right.

The strength of the performances, along with the good will generated by these flawed but likable characters, carry the movie through.

Only a very stony heart could resist its pull.

The trouble starts with the script, and it doesn't end there.

Doggone funny.

Sophomoric.

A charming confection spun from pure whimsy.

One of the most searing experiences to be had at the movies this year.

In an era when cynicism so often passes for insight, a movie as decent, well-intentioned and good-hearted as A Piece of Eden can't easily be dismissed.