You're likelier to shrink in astonished horror from it than laugh.

This multistoried historical plot is packed with almost three hours of nuances and hidden meanings, and the slippery smiles and sly innuendoes often seem lost in translation.

If you thought "Boogie Nights" blew it in its final third, you ain't seen nothing yet.

A masterfully varied set of images, paces and moods.

Has many affecting moments, but you may tire of the tugging on your heart strings.

A frustrating, pedantic, cacophonous jumble of a picture, peopled with as many straw men and caricatures as living, breathing humans.

Mingles bathos and pathos in unequal measures and instead of getting laughs, looks laughable.

An often pedestrian film, one that never inflates to the epic grandeur to which it aspires or transfers its own emotional trajectory off the screen and into the viewer.

It's as sullying and disheartening an experience as the movies can offer .

Effectively cast and shot with exciting immediacy.

"Sixth" achieves a rare hushed poetry where Stir, for all its strengths, is more earthbound and familiar.

Though the film occasionally rises to moments of genuine emotion and wit, it slips appallingly into corniness and hokum before coming to an abrupt and unconvincing end.

A gripping account of grown-up sensuality, obsession, loss and hope.

The two lead actresses are exquisite in their divergent ways.

It's an often lovely, constantly assured film that now and again burps forth a really remarkable vision. But it's also half-nuts -- maybe three-quarters.

Amazing as Penn is, Morton is his equal, creating a complete personality out of gestures, glances and unadorned bits of actorly business.

The humor isn't as sharp as it should be, and the story isn't as tight as it could be.

Comes to be dominated by the acting, and this is an unfortunate fate.

Best laugh at the movies all autumn.

The animation is even more mind-blowing, if that's possible. The characters and objects seem even more palpable and real than last time. There's a thickness to bodies of the human characters and an amazing attention to detail throughout.

While this film has got a good head on its shoulders and a nicely made-up face, flawless it's not.

Apted ("Gorillas in the Mist," "Coal Miner's Daughter") keeps things low-key and low-tech, which makes some of the cliched Bondisms a bit easier to swallow.

It has a dickens of a time telling a story.

Brimming with bittersweet wit and emotion and built with deceptively fluent craft.

Piquant, playful, and, in many ways, just as appealing as blockbusters such as "Pride and Prejudice."

An empathetic portrait of humanity on a house-by-house, heart-by-heart basis.

Dotted with real laughs and held together by some solid acting, but it's built of a fairly flaccid narrative and some really amateurish sequences.

In this film, shadowy seams of brutality, loss and grief are traced beneath bright layers of tree boughs, children's laughter and high, empty windows.