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.