Should be shot at sunrise. Or strung up by the neck from a tall tree. Or at least run out of town by a big posse.

An outrageously silly movie that makes me laugh.

While both leads are appealing enough, it's the stuff on the sidelines that keeps All Over the Guy entertaining.

Pie 2 has neither undercurrent, and hence what was passably cute the first time seems much more puerile and shrill here.

The flat, gross-out live-action bits, directed by (surprise!) Peter and Bobby Farrelly, don't jive with the zippy, Tex Avery-style animated segments, directed by former storyboard artists Piet Kroon and Tom Sito.

Its emotional sweep is ultimately undercut by murky characterizations and generic plotting.

May not quite be more than the sum of its creepy parts, but as a reality-is-fear launch into workaday darkness, it clearly points toward the horror genre's best destiny.

Some moviegoers are bound to take issue with the trick, "Sixth Sense"-style ending (or cynically see it coming), but The Others is mostly spooky fun, and a strong calling card for Amenabar.

Goran Visnjic is such a sensitive, non-menacing gentleman that any woman would want him as her own personal blackmailer.

Too poignant and funny to be dismissed.

An early scene inside a theater seems intended to wink at Sin's critics: "Disgusting! Cheap melodrama," a lady sniffs during intermission. It's a neatly reflexive acknowledgement of what we ourselves are watching, but even at that, our filmmaker is praising himself too extravagantly by half.

Oy, it's such a pleasure that you'll be begging for Rush Hour 3.

Families already know exactly what they're in for, and they're likely to leave the multiplex high on the hum of a charming cast, sunny San Francisco locations, and a suitably happy ending.

The most disappointing aspect of Planet of the Apes is that, despite its presentation, the film is so very ordinary, without urgency or revelation.

Makes for compulsive viewing.

For some viewers, this will seem a trial of predictability and unrelenting sweetness; for others, it's more than enough.

The more we realize that we're stuck in the company of a totally relentless loser, the drearier the entire experience becomes.

A mess, bouncing nonsensically from one style of farce to another, leaving large vacuums and dead spots — which may themselves, of course, be deliberate.

Watching this movie go through its simplistic dramatic motions, you begin to understand why some actors stick to summer stock and live Ibsen revivals.

In spirit, 101 Reykjavík is so Almodóvar that it could melt the polar icecap.

Sags, lollygags, and blusters too much to sustain the what-the-hell momentum that Kitano achieves in his best movies.

It's dull, two-dimensional, and totally toothless.

Stomps the summer movie competition with heart and humor.

The results are both savagely funny and poignant for anyone who's ever had a friendship that felt like their only connection to the outside world.

The ending is so absurd, in fact, that it feels like it was improvised by a committee of 6-year-olds. If the raptors truly were intelligent, they'd have eaten the final reel.

It's Norton's movie, really, and he shines both as cocky Jack and as cerebral-palsied Brian.

That's just not enough to recommend it, though it does have one moment of real justice: The person sentenced to jail has truly bad hair.

Oddly, Bully's only moments of power come at the film's end, after the crime takes place.