You can't just rework a beloved Christmas classic, set it in reverse and expect it to run smoothly.

Bullock maintains a luster and comic naturalness that most actresses couldn't pull off in such mediocrity.

Bouncing giddily from subplot to subplot and wisecrack to wisecrack, Mamet and company (and this is one of the truest ensemble works in years) satirize the slippery morals of the film racket and the surface-only decency of small town America.

Finding Forrester achieves a distinct success few Hollywood movies can even dream of: It overwhelms and inspires with understatement.

It's never subtle or clever, but it's big, loud and clear.

The resulting film is a labor of love with all the strengths and weaknesses you might expect from such a designation.

A spry and appealing film that throws off comic sparks with aplomb.

It's built of such exquisite craft -- the acting, the decor, the photography, the music -- that to refuse it is to refuse the very sensations that draw us to art, romance and maybe even life itself.

One of the most wearisome "high adrenaline" movies to come along in a while.

A spell-binding, engaging and often breathtaking work in which exquisite sets, costumes, photography and music combine with top-notch acting and out-of-this-world fighting scenes.

Hollow, frequently boring picture.

An exquisitely crafted film filled with little shocks and deep echoes of humanity. It'll stick with you.

Noisy, random and hard on the eyes.

Isn't sexy, funny, smart or fun.

Under the tight wraps provided by a veteran director and a generally clever script, he (Arnold) has, in The 6th Day, his best picture in many years.

Filled with skewed humor, inventive animation and earthy jokes.

Though it's debatable whether Sandler is squandered or just supremely annoying here, the film's flaws aren't entirely his fault.

With very little dialogue and through what's essentially a gimmick, we come truly to like these guys.

It's a movie about having a sibling and all of the pain, joy, love and anxiety that that entails: a movie, in other words, for almost everyone.

Leaves you exhausted and even bored.

Seems deeply influenced by American film noir, the Western fairy tale (in this case, mermaids) and the works of Alfred Hitchcock in particular.

What it plays like is a trifling story strung out to great length without much narrative drive, tinged with some disturbing racial undertones.

A big, loud, sometimes clever, often dumb behemoth of a movie.

Marshall does such a good job re-creating the otherworldly energy of a temple of youth that the rest of the picture feels strained and sometimes trite. Nevertheless, parts can be absorbing, reflective and touching.

Goes overboard in its presentation of supposed reality.

Tends to beat some plain unfunny material to death.

A profoundly anxious picture that from its first frame holds you, clenched, never able to let go, even after its unresolved coda.

The movie falters when it gets mean.