Lightweight, inoffensive fare, as bland as a sleepwalker under a hypnotist's spell.

The cottage industry of the mockumentary has produced another pleasing trifle, the cute and smart Lisa Picard Is Famous.

It's reassuring to see love and sex in one's 70s depicted as fully replenishing. At the same time, it's sobering to think that it's no easier in the twilight of life to make rational decisions regarding the heart.

A journey that goes from prosaic to existential. Director Hans Petter Moland's raw drama of father-daughter reconciliation features an excellent cast.

Grand passion, secrecy, world politics and mortal danger provide a heady mix for this spectacularly beautiful movie. If only the accents were as reliable as the azure of the sea.

Dalton, using a Scottish brogue coarse enough to take his tongue with it, is hootably bad, and Kathy Bates, playing Ma James, is pure ham.

The movie is over in a breezy 112 minutes, but it may be another half-hour before your sides quit aching.

As for Scott, his rather wry interpretation is competent, but neither daring nor insightful enough to arouse any great passion.

The opera's story -- about a Chinese princess who rejects all her suitors -- is never even fully explained.

You may need fortification for this astonishingly bad movie.

May be free of gay stereotypes, but it's absolutely riddled with romantic cliches. It's hard to see the progress in that.

Pie 2's greatest asset is the rare, infectious amiability of its cast of characters and the actors playing them.

More than a bad movie, it's an anti-movie.

Heartfelt but often plodding and awkward, the movie feels like a somewhat subpar Sunday night TV movie.

A natural successor to "The Blair Witch Project" in terms of its small suggestions of horror past and future.

The suspense is as tingly as jalapenos on the tongue.

Delicious, intelligent thriller.

Possibly the sourest revenge movie ever, Audition starts off as a sweet, low-key romance, then abruptly turns into a grisly, sadistic thriller.

You'd think it would be boring to stare at Thomas's computer screen so intently for 97 minutes, but the movie is eerily riveting.

Banderas has some very effective moments, but in his emotional scenes, Cristofer has him screaming his lines into Jolie's face with such a spritzing fury, she might have filed a union grievance.

Ultimately, it's the casting and the story that are too good to be true. If a newspaper's classified ad section could document a success like this one, there would never be a slump.

The co-stars genuinely like each other, and their pleasure is infectious.

Prepubescent girls might get a few safe giggles while others around them are yawning.

Given the near total absence of intellectually ambitious American movies today, a critic's first impulse after seeing Francis Ford Coppola's reedited Apocalypse Now may be to treat it as the new, improved version he says it is and proclaim it a masterpiece - if not in 1979, then now. But it's not that simple: Apocalypse Now Redux is not a new movie, and neither is it necessarily improved.

As a story, Burton's Planet of the Apes is more of a comic-book creation than either of his "Batman" movies.

Kelly McGillis quite literally as you've never seen her -- as a manipulative, icy sex goddess in whose bedroom there are no limits.

Looks a lot like 1950s American gangster films -- particularly, John Huston's "The Asphalt Jungle" -- but it's decidedly French in its sexual candor and moral laissez-faire.

A perfect example of an "art" movie that is so lugubrious and soul-sucking that it's hell to sit through.