The movie is, start to finish, candy-colored angst.

Femme Fatale is glossy, glamorous cinema as collage. Maybe all the pieces of a truly good film noir are here, but the filmmaker has opted simply to toss them into the air and let them fall where they may.

With its polished mix of traditional and computer-generated cartooning, Treasure Planet doesn't exude the same suspense as the Disney original. You could say it's lighter on its feet -- but then there's less gravity in outer space, anyway.

Has the disjointed feel of a bunch of strung-together TV episodes.

Shows glimmers of great drama, but jettisons too much essential cargo (character development, relationships, plot, common sense) in an effort to be lean and clean.

Tully is at turns heartbreaking and heart-stirring. And it's from the heartland, so I guess that makes perfect sense.

The execution is so dumbed-down, so dumbfounding, that sophisticated moviegoers might confuse it for outtakes from "Spy Kids 2" and "XXX."

Sly, sophisticated and surprising.

It's not a great film but it's pure pleasure.

A dynamic portrait of an artist by an artist, one as wry, audacious and erotically charged as its flamboyant subject.

Although there are several truly jolting scares, there's also an abundance of hackneyed dialogue and more silly satanic business than you can shake a severed limb at.

A mostly glum, gray and grim story lit by a fugitive sunbeam.

I would like to be able to report that Nelson's directorial vision is grim and uncompromising. Grim it most surely is. But his movie about morally compromised figures leaves viewers feeling compromised, unable to find their way out of the fog and the ashes.

What's most refreshing about Real Women Have Curves is its unforced comedy-drama and its relaxed, natural-seeming actors.

A messy fish-out-of-water gangland romp.

There are extraordinary collisions of image and music here that make for some breathtaking sequences, but when that portentous, Gregorian-chanting chorus kicks in with its repetitive mantra of the film's title, it sure sounds a whole lot like they're saying "narcolepsy," not "naqoyqatsi."

A creepy, oozy, dopey remake of the stylish 1998 Japanese thriller, "Ringu."

Is Auto Focus a cautionary tale or just a morbid, voyeuristic foray into kitsch and kink? Whatever it is, it's not pretty - it's the cinematic equivalent of soiled, stained sheets. You'll want to run out of the theater straight to a Laundromat.

Sweet. The pun is unavoidable. It's the only adjective that fully captures the flavor of the romantic comedy Brown Sugar.

Although it would be understatement to call their characters unsympathetic, Van Der Beek and Sossamon play their parts with such doomed passion that they have some affecting moments.

It has its moments of swaggering camaraderie, but more often just feels generic, derivative and done to death.

Irreverent, provocative and provoking.

A thoroughly satisfying mix of mayhem and mindless fun.

Smart, curious and brave.

Although respectful of its central subject, Comedian is not worshipful. Rather, it is curious about what in Seinfeld's hard-wiring allows him to maintain his equilibrium.

Stronger on character than on story, the film version of Janet Fitch's best-seller is shaped and propelled by the astonishing performance of Alison Lohman.

With its feverish, percussive soundtrack and bravura cinematography, is like a bolt from the blue, chock-full of unexpected delight.

Funny and not-funny, slapstick and slapdash, Welcome to Collinwood is a seriously uneven caper comedy in which a bunch of really fine character actors get to act really, really silly.