If your kids are old enough to safely see the movie by themselves, drop 'em off and pick 'em up after. You don't need to see this one.

Sandler nimbly steps into the role created by Cooper and makes it his nebbishy own, something that cannot be said for Ryder's attempt to rethink the Arthur part. Ryder is lovely, but perhaps too sincere an actress to play a wiseacre.

Rings true for the most part, and explores human nature - leashed and unleashed - in ways that resonate.

Taut entertainment that juggles brainy ideas about perception, predetermination and free will - and drops things in a messy third act where the vintage noir gets bathed in a bit too much Spielbergian glow.

Simple, sweet family fare, and a picture that extols the virtues of comradeship and community in a spunky, spirited fashion.

While I don't always have the stomach for Woo's viscera or the heart for his pure, angelic heroes and impure, diabolical villains, I found myself responding to the context and subtext of Windtalkers while closing my eyes through what one might call its text. It's two-thirds of a great film.

A fine, inventive '70s period piece about friendship, first love, and growing up to face the hard lessons of life.

Touching historical fantasy.

Damon, starring in his first full-fledged action pic, brings a determined bearing and believability to the proceedings.

Would I see it again? Not even for a Scooby snack.

Bad Company would just be another silly, intermittently funny, buddy comedy (Anthony Hopkins is Rock's training agent) were it not for a plot unlaughably close to current events.

Tunney, brimming with coltish, neurotic energy, holds the screen like a true star. She brings the role, and the movie, to life.

Less successful in exploring the long-term effects of mental breakdown than in dispensing short-term comic pick-me-ups, Ya-Ya wrings abundant laughter and tears.

This long (nearly three hours), revelatory movie is both a thrilling adventure about endurance and survival, and an elegiac examination of centuries-old tribal culture, fast-fading in the new millennium.

Fortunately, even when star and story are ineffectual, Fears' supporting players are all thrilling, especially Morgan Freeman.

This is a smart, spirited spoof that will leave you with a smile on your face - and an appetite for some serious '70s funk to play on the eight-track in your solid gold Cadillac convertible.

A sweet but unsticky comedy from Norway that was one of the five foreign- language nominees at this year's Academy Awards.

CQ is a movie for movie-lovers, by a movie-lover: Roman Coppola, son of Francis Ford and a successful commercial and video director in his own right, making a witty, whimsical feature debut.

Mostly this elegant little film is a case study in the inconsistency of thoughts and feelings. Here, moralists break commandments, intellectuals act emotionally, and cynics have moments of idealism.

At this point in her career, Lopez can clearly bend the universe -- but no amount of bending can make Enough anything more than formulaic.

It's a parable as timely today as when it was written. But except for Paymer as the boss who ultimately expresses empathy for Bartleby's pain, the performances are so stylized as to be drained of human emotion.

With Insomnia, his third feature, Nolan, 32, has proven himself a precocious master of the thriller, unsettling the audience with a brief image of blood seeping through fabric.

A cartoon that's truly cinematic in scope, and a story that's compelling and heartfelt - even if the heart belongs to a big, four-legged herbivore.

Despite good taste and good will, this romp through Victorian parlors frequently falls flat on its rump.

The film is a sharp, funny, touching tale.

It is a challenging film, if not always a narratively cohesive one.

Clones makes the Frodo-speak of "Lord of the Rings" sound like Noel Coward.

This being the "ultimate" movie about "extreme" sports, there's a lot of superlative slinging in the commentary.