It is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs.

Laughably predictable and lamentably unfunny, Laws of Attraction practically creaks from the effort exerted by its cast, straining to bring snap and panache to a hackneyed exercise. Sno Ball, anyone?

What Raising Helen doesn't offer is a competent (never mind compelling) performance from Hudson, who is as cute as lace pants and has approximately as much acting skill.

As a piece of filmmaking, What the Bleep isn't exactly transcendent stuff. But as an entryway into new ways of thinking about the self, the universe, and the vast infinite whatnot of whatever (you know what we mean, oh wise one), this little movie is big.

The plot is preposterous. Particularly the part about a kid who has never before played an instrument, but can pick up a guitar and play like Eric Clapton and belly up to a church organ and perform like Mozart.

It works here and there. And then it doesn't.

Not to say that it isn't fun, only to say that it is more about sensation than sense.

In describing the conflict of a woman who has it all without enjoying it all, Pearson's book had teeth. McKenna's screenplay has only a smile. But is it ever good to laugh.

Full of macho swagger and unabashed hero-worship.

Two of its youthful actors, although adorable, are not skilled enogh to carry their parts.

Chan's signature mix of screwball comedy and gymnastic derring-do landed him his own cartoon series a few years back, and The Medallion -- with its bumbling spies and bounding star -- is about as cartoonish as live action gets.

I left the film wondering where at the Bellevue-like psychiatric facility that schizophrenic teenager obtained such a becoming brick-red lipstick.

Williams, going full throttle as the desperate deposed kiddie icon Rainbow Ralph, is, well, simply exhausting.

While Nemo's story line is as clear as its pellucid blues, Wild's narrative is as muddy as its colors.

Alas, this joyless affair doesn't have a clou.

A forced-march comedy.

Men, Women & Children isn't a cartoon. It wants to be real, terribly. Instead, it's just terrible.

Harrison Ford - in his best role in years - and Cliff Curtis are the main reasons to see the film.

The new Ben-Hur isn't much of an improvement. Dominated by CGI effects, it's a soap opera better fit for basic cable.

What redeems the film...is that for every nonstop explosion, there's a hilarious burst of Reynolds' nonstop patter.

Did I enjoy Shadyac's film? Very much. Do I think he made many of his points more accessibly and entertainingly in Bruce Almighty? You bet.

Despite its formulaic structure, The Abandoned has a lot going for it. It eschews cheap scares, bloodletting, and gore. Instead, it works the audience with good, old-fashioned suspense. And it has heart.

Full of kerplunkingly unfunny jokes and ex-"Saturday Night Live" cast members turning up to do shtick.

Sorely needs the injection of skepticism - a quality that would have been even more useful when Pollack was mulling over doing Random Hearts in the first place.

For those who want nothing more than a thorough scare, Gothika is effective. But for those of us who want some psychological insight with our frightfests, the film is sadly lacking.

A case of a yummy yarn spoiled by cheesy visuals.

Amazingly, though, Brian Klugman and Lee Sternthal, cowriters and codirectors of The Words, have the audacity - and the skill sets - to pull this all off. They wrest emotional truth out of hokum. They also wrest intelligent, nuanced performances from their cast.

The film is just middling. A clever line here and there, a debonair Dempsey wink, a cute Monaghan nod, and another Bill and Monica reference to tie things all together.