A stark regression from the intelligence of the Scream franchise, this teen horror sequel is about as satisfying as low-budget food that's been under the heat lamps too long.

Midlands finds some measure of success in its use of regular, real-looking people -- as opposed to the oddly glamorous characters who turn up in most romantic comedies -- but it's as though the writer used up all the personality traits before he got to Shirley.

Despite Fanda's shenanigans, and many are out-loud funny, Autumn Spring is not that uplifting though it isn't a downer, either. It's more an ode to friendship and marriage.

Strong acting from Khoury saves the weak storyline.

Even when sketched in broad terms, Rogowski's downward spiral makes for compelling viewing, and to her credit, director Stickler never romanticizes her subject.

The formulaic movie would be forgettable but inoffensive if it were anyone else posing for blue screen CGI effects.

Sometimes the film feels as if it's trying too hard to include every possible horror a teenager could sample.

A surprisingly ambitious entry into a genre that felt bankrupt and over more than a decade ago.

Dismal.

American Splendor reminds you that sometimes, simply getting out of bed each morning can be the most heroic of acts.

The biggest appeal of Passionada is Sofia Milos, a sexy actress who commands the screen in every scene she's in.

There's a fine little western lurking inside Open Range: Too bad it gets drowned out by director Kevin Costner's pretentiousness. Almost everything in the movie feels inflated, overblown, drawn out.

Shaolin Soccer applies everything you love about Hong Kong action flicks to the paint-by-numbers sports-movie formula.

Provides a few of the best thrills so far this summer.

This is an insignificant film with a passably entertaining premise that goes wildly to hell the instant it strays from its comic ideals with brief, unsatisfying detours into the realms of art and high-end lingerie.

A compendium of missed opportunities, uninspired action and clichés so tired, you wish the screenwriters had called 911, too.

Some older movies are so terrific, so capable of touching new generations that they cry out to be updated and remade. The mildly entertaining Freaky Friday isn't one of them.

If The Magdalene Sisters occasionally flirts with cartoonishness, the movie is tempered by Mullan's considerable filmmaking skills.

It's fitting. Valentin and Jane may be awakening from life's slumber, but mostly they're just putting us to sleep.

Leary's presence quickly grows tiresome, and The Secret Lives of Dentists would have been a better movie without him. But Scott and Davis keep you interested in the Hursts' dilemma

Best of all, though, is Seann William Scott as the profoundly annoying, profoundly vulgar Stifler.

Gigli's awfulness is of a rarer, more precious variety. It's the sort of bizarre, ill-conceived picture you can't believe exists, but are secretly glad it does.

When it was first shown at the 2001 Toronto Film Festival just days before Sept. 11, this movie seemed darkly, grimly comic. Today, though, it often just seems grim.

Repetitious, uneventful and, in the end, dull.

Easily the slightest and most frenetic entry in the trilogy. But it might also turn out to be the fan favorite, because the movie is nothing but eye candy and visual sensation.

Another joyless, brain-numbing adventure through lackluster Indiana Jones territory.

This crowd-pleaser is a genuinely inspirational film, gorgeously filmed and wonderfully acted, echoing an uplifting sentiment that bears repeating: ''You don't throw a whole life away just because it's banged up a little.''

The charms of Lucía, Lucía rely heavily on the charismatic Roth, who is funny and warm and a lot of fun to watch as she embraces her new life.