Isn't as bad as you'd think, but this comic mash-up of "The Bourne Identity" and "Fat Albert" doesn't have much heft.

Suspenselessly directed by Robby Henson, Thr3e commits the eighth deadly sin - boredom.

The director, 30-year-old Dalibor Matanic, allows himself a few weepy moments, but mostly the script stays on target, accompanied by strong acting and lensing.

Zellweger dusts off her Bridget Jones accent - and a constellation of annoying vocal and facial tics - for Miss Potter, an unrelentingly mediocre, TV-movieish biopic of beloved children's author Beatrix Potter.

Nothing this year comes close to being as utterly unforgettable as Guillermo del Toro's Pan's Labyrinth, an extremely dark and disturbing fairy tale for audiences say, ages 12 and up.

Perfume: The Story of a Murderer, crosses over from thriller into magic realism for a lavishly staged climax that's a bit much.

What happens when several characters' lives intertwine with the maggot-infested corpse of a prostitute in The Dead Girl? A whole lot of crying.

This kids' cartoon from France is such a surreally demented attempt to connect with children that it's the equivalent of foie gras breakfast cereal or a bleu cheese milkshake.

Miller is wincingly good at playing up the innocence.

The longer the movie goes on, the more annoying Benigni's infantile behavior becomes.

It's an underdog story with teeth.

An overdone sex comedy.

Arguably the year's most entertaining art-house film.

Director Alfonso Cuarón has a vision so mesmerizingly terrible that it alone - at least, for those who enjoy a gorgeous nightmare - is reason enough to see the film.

A glacially paced, emotionally frosty epic (with a top-drawer cast).

Strands several generations of performers in a highly derivative script and hackneyed direction.

Has the kind of soulful subject matter that will strike some as profoundly emotional, but it gets a flag for roughing the tear ducts. This isn't football - it's cornball.

A sublime meditation that is one of this year's wisest, warmest and funniest films.

Curse of the Golden Flower could also be called "Curse of 'Crouching Tiger, Hidden Dragon.' " In other words, it is yet another attempt to cash in on the success of Ang Lee's 2000 martial-arts epic, which will go down in the history books as one of the most overrated films of the decade.

Taken together, Eastwood's masterworks - two of the best films of 2006 - may be Hollywood's last word on World War II.

Despite a fierce lead performance by Naomi Watts, The Painted Veil is a quaintly bloodless, picture-postcard adaptation of W. Somerset Maugham's 1925 China-set novel - more Merchant Ivory than David Lean.

Better than decent. But if Stallone (who wrote and directed the flick) had pulled a few punches to the heart, it could have been truly worthy of that first, glorious movie.

Sounds boring, but it's not, thanks to Marker's whimsical irreverence.

Pleasant enough, with funny moments.

Dreamgirls may be good enough to win the Oscar for Best Picture - great costumes, sets and choreography help - but despite stellar work by erstwhile "American Idol" contestant Hudson and Murphy, it's far from a great picture.

While Clooney and especially Blanchett give solid performances, and McGuire plays effectively against type, the movie is best appreciated as an exercise in vintage Hollywood style.

Though Binoche does very solid work, she can't sell the idea of her and Law as a couple; the chemistry isn't there. Not much else rings true in Minghella's screenplay, which is full of coincidences and speeches about race and class.

"Babe" was a classic because of its gentle simplicity. Charlotte's Web, with its insistently "magical" theme music, an overbearing climax and a trough full of bad jokes, is merely adequate.