This sequel, while lacking the freshness of the original, shares much of its charm and for the most part rises above some trite, syrupy dialogue.

The idea, I suppose, is that love connects us all, even when it goes wrong. Fortunately, even love doesn't usually go quite so badly as this movie does.

An uncommonly perceptive and finely shaded character drama.

Exhausts you with its derivative stupidity, leaving you weak and bored and weary of comedy that's not funny, action that's not exciting, dialogue that's not clever. It's not even an adequate rip-off of the TV show.

In the end, Roger Dodger doesn't really add up to much. Guys can be jerks when they're lonely, or even when they're not. It's not news. But Kidd's version of this truth shows he's a writer worth watching.

It's never a good sign when a movie's credits include: ''Tony Orlando as himself.'' But the crooner is the highlight of the dreadful Waking Up in Reno.

Think of The Truth About Charlie as a Parisian getaway that happens to have a movie percolating in the background.

Frida, the kaleidoscopic drama based on the life of the Mexican painter/feminist/icon Frida Kahlo, was directed by Julie Taymor, which is the movie's first blessing.

The Bank, despite its faulty finale, is a fun and thrilling ride.

An intelligent crime drama, not because of the criminal activity it dramatizes but because of its powerful examination of the forces that drive criminals.

In its favor, the film's production values raise the standard of usual Christian entertainment. Sadly, though, it preaches to the choir.

Coincidentally, this is the second movie in two weeks about a haunted seafaring vessel ("Below" is the other), and if you see just one, this shouldn't be it.

As much as I laughed throughout the movie, I cannot mount a cogent defense of the film as entertainment, or even performance art, although the movie does leave you marveling at these guys' superhuman capacity to withstand pain. Compared to these jackasses, Vin Diesel is a big, overpaid wuss.

There's no doubt that Leigh gets inside his characters' lives. But that's often someplace we'd rather not be.

Too much of this well-acted but dangerously slow thriller feels like a preamble to a bigger, more complicated story, one that never materializes.

It plunges so deep, in fact, that the film winds up bordering on the unwatchable.

A warm, funny, engaging film by Patricia Cardoso that realistically portrays the struggles of many first-generation American women.

Feels like it's been pasted together from 51 other movies -- none of them good.

It's an understatement to say that The Ring is not your ordinary horror film. And never forget to rewind.

It's a clammy, depressing movie, but not a very illuminating one.

Hits the parallels between love and hip-hop a little too hard when the message is relatively easy to grasp: Don't sell out: not your art, not your heart. If only music business executives were listening.

Hollow and pointless.

Not as bad a movie as it sounds, just mediocre.

That broad range of subject matter is indicative of the messy, meandering structure of the movie. But if Moore fails to tie this unwieldy movie into a lucid thesis, at least every tangent he chases down has its own payoff.

Sreams its devotion to style over substance with slick action sequences, fast cars and breathtaking stunts.

The magic of the film lies not in the mysterious spring but in the richness of its performances. The producers have assembled a cast with three Academy Award winners.

Shows Jerry Seinfeld as you've never seen him before: being unfunny.

The entire story -- has been done before, and should have been limited to a 30-minute Saturday morning cartoon episode.