The story unfolds as slowly as does life in Cayeux. There's minimal dialogue and even less action.

Disney's best comedy in years.

Cocchio's film isn't as poetic as Gus Van Sant's hauntingly beautiful (far more expensive) "Elephant," but it has a power and immediacy that makes it much more worthwhile than "Home Room."

The cast is amazing -- two of the lead actresses are first-timers.

One part cabaret, one part travelogue, one part comic heist, one part romantic tearjerker -- and all pretty tedious.

Lacking a solid narrative beyond the worsening marital crisis, this humor-flecked domestic drama ends up relying heavily on directorial tricks such as splashes of magic realism, giving it a self-satisfied air that quickly becomes grating.

Some gut-busting moments, but for the most part the thrill is gone.

The problem with Gigli is that it is an inept attempt to do Elmore Leonard by Martin Brest, a filmmaker whose coarse sensibility makes him catastrophically unqualified to the task.

Phoenix gives an electric performance as amoral Army supply clerk Ray Elwood.

Kids will get off on Bugs! and then go home and have nightmares. Adults who accompany them may have to fight off sleep before they get home.

Long stretches of Mike Figgis' film are jaw-droppingly pretentious or painfully dull... Nevertheless, there are clever, funny, erotic and visually beautiful moments scattered throughout the film.

There's also enough laconic humor, warming camaraderie and hopeful stabs at dignity to keep the story from assuming the glum gunmetal gray of its setting on the coast of northwestern Spain.

Combined with the eyestrain produced by the cheap cardboard 3-D glasses, the resulting vertigo is decidedly unpleasant -- although having moon rocks and blobs of cream pie flying out from the screen is kinda cool in a retro way.

Its faults -- banal dialogue, ludicrous and uninspired plotting, dull but vicious fight scenes -- make you realize just how much the summer action movie has declined in the last few years.

A thrilling, beautifully crafted, fact-based horse story that's not merely the summer's finest movie, but may well be the one to catch come Academy Awards time.

Roth goes to town with this juicy part, and seems to enjoy herself immensely in this merry farce, which runs out of gas toward the end due to an over-complicated plot.

A summery confection crammed with fresh young talented faces that's hard not to love.

An incomprehensible Bob Dylan vanity project that is not only nearly impossible to sit through, but embarrasses a long list of stars who lined up to work for scale opposite the legendary musician.

Well-done documentary.

Part urban thriller, part unorthodox love story, this well-acted portrayal of the shadowy realm occupied by London's illegal immigrants is buoyed by stinging social commentary and a surprising twist of intelligent humor.

Garage Days is fun, but it would have been even more entertaining if Proyas had taken an unplugged approach.

Under Jordan Susman's inept direction, these twentysomething airheads, angry about the proliferation of Starbucks outlets and other societal ills, all resemble nubile models.

Director and co-writer Matteo Garrone infuses The Embalmer with a spooky eroticism. The film is dark, both in theme and visual composition.

The sad truth is that TV series like "Dawson's Creek" do a better job with precocious teen dialogue.

It's basically the longest (a butt-numbing 21/2 hours), the most expensive (a reportedly obscene $150 million), most vulgar and by far the stupidest episode of "Miami Vice" ever.

It's not surprising that This Thing of Ours -- the title refers to the literal translation of La Cosa Nostra -- rings with authenticity and solid acting.

The screen comes alive only at the end, when a frightening tornado destroys the seaside village.

It's a chaste "Austin Powers," a less ridiculous "Casino Royale," a more subtle "Spy Hard" — in other words, yet another James Bond parody.