Even 3-year-olds deserve better.

In the rather weak ending, we aren't sure what will become of Peter and Santino.

A sweet but weightless and witless romantic comedy, Sandler is not only deeply unfunny, he's deliberately unfunny.

The subtext is singular: The presence of potentially dehumanizing technology serves to make the characters seem more human.

Gorgeous and saddening, Osama makes the human-scale claim for the overthrow of governments ruled by the iron hand of religious fundamentalism far more persuasively than any of the rhetoric coming out of the White House or No. 10 Downing St.

The first "Barbershop" was no classic but, as so often with sequels, if this were the first there would be no second.

Ordinary folks working together to triumph over incredible odds, depicted in a Disney film that doesn't overdose on sentiment? That's the real miracle.

For all the flash and sparkle, there's little heat. The Dreamers wants to be "First Tango in Paris." It's more like "Last Tango Under Glass."

It's "Ocean's Eleven" for people who can't count past six.

At 80 minutes, it feels truncated and abandoned -- a sketch of a comic thriller rather than the real thing.

For children old enough to get the jokes about Vicodin but young enough to innocently fantasize about movie stars, Win a Date With Tad Hamilton! will be a perfectly pitched midwinter treat.

Isn't a complete waste of time. If Kutcher seeks to transition from national joke to lightweight actor, he's made a decent stab at it.

Remove the razzle-dazzle provided by Azaria, Hoffman, Baldwin, the gross jokes and that ferret, and you wind up with a pretty dull and ordinary face.

The movie is simple fun.

This is a first-class film that will appeal to anyone who wants to see a plausible, witty, absorbing human story told well -- indeed, told gorgeously.

Collette proves herself worthy of carrying a movie with a performance that runs the gamut of human emotion without striking one false note.

A handsome work of impressive sweep dotted with fine performances. It offers a few fine moments of wit, fear and emotional intimacy. But it rarely pulses with vital life.

Affleck is in the middle, engaging in derring-do, pitching woo to Uma Thurman and making the whole thing come off as less exciting than it should have been.

Hogan whips up a high-energy family entertainment that fairly erases memory of the other filmed versions of Barrie's tale.

This is harsh and acid stuff, but it's exhilarating on a number of counts. For one thing, Jenkins moves with real authority between scenes of low life, tender intimacy and gripping violence; made on the cheap, her film has the iron certainty of the best art.

Still, if it doesn't go down in film history as a key moment in Roberts' career, it might very well be remembered as a breakthrough for one of its trio of rising stars.

Grim, sordid and, as it progresses, increasingly dunderheaded.

The result is an overly long, overly cute film that is far too tickled with its own naughtiness. It truly is an instance of if you've seen the trailer, you've seen the film.

From the acting to the special effects to the landscapes to the cinematography, editing and music, to the details of decor, wardrobe and armaments, we never once feel that we are in anything but the hands of an absolute master of the medium.

Johansson, fittingly, is the focus. In her face, as in the faces of Vermeer's handful of captivating subjects, the viewer intuits whole stories and worlds.

Tedious "message movie" proves hunting war criminals amid right-wing Catholic conspirators can be plenty dull.

As cinema, it's polenta, but it's made palatable by the piquant sauce with which these two great stars season it.

There's something personal going on, something deeper than slapstick. It makes a sometimes flat film shimmer.