While this Kid isn't up to "Spy Kids" standards, the good news is the film hews closer to the high-concept kids' movies of the 1980s than to all that Disney Channel goo that's been repackaged for the big screen lately.

It’s very colorful, for sure, but the dialogue is lead-footed at best.

The image of Gwyneth Paltrow looking anguish-stricken has become such a cinematic meme that it hardly bodes well for Proof that it opens with this sight.

Jersey Girl may have come from his soul, but it contradicts the charm of a Kevin Smith movie.

At the very least, Cyrus forces one of these man-children to face a younger version of himself, and find a grown-up compromise.

Imagine what someone like Danny DeVito might have done with the material, taking it in that darker "War of the Roses" direction instead of languishing in this sunny, not-nearly-sinister-enough "Legally Blonde" territory.

Directed with little flair, a one-sided perspective and a questionable sense of moral responsibility by Dan Klores (his negligent lack of an editorial voice in the couple's lunacy reeks of train-wreck exploitation), Crazy Love is a disturbingly captivating tabloid horror, but that's not Klores' doing.

Since the story really is about nothing more than who ends up with which bag of money, those eccentric details--that cow, the butchers' language--don't feel organic, but rather cosmetic. They're glamour to conceal the mundane.

Moves easily between manic humor and soft, touching moments that get to the heart of what it means to be a parent.

The movie is a mess, but Harnett and Ford are likable enough to make Hollywood Homicide a unique addition to the cookie-cutter spectacles that usually grace theaters during the summer months.

If you were hoping to find another "Nemo," you're likely to be let down by this insincere and borderline unpleasant alternative.

Had the picture maintained a sense of lightheartedness, it may have better lived up to its genre. But, as is, Alex & Emma is flat, neither whimsically romantic nor consistently comedic.

At root, novelist Dan Brown’s story is an entertaining one--whether you believe any of these ideas are real or not. And in the end, it’s that standard movie trope (good guys must solve dire puzzle while bad guys give chase) that makes The Da Vinci Code an okay film.

Ultimately fails as a film in its broad strokes and inadequate scene development.

Rambo is surprisingly effective as an action movie precisely because the villains seem truly dangerous and the "mission" truly a death wish.

It's great that the comedian felt the call of a higher office, but it's a call that apparently only he can hear.

Somehow the movie ends up feeling like a museum piece or, worse still, a work of fiction.

I like a good flying, fire-breathing dragon as much as the next fellow. Beowulf's excesses, though, are such that the film ought to carry the subtitle …But This Is Ridiculous.

Farrell and Hayek are two beautiful people with absolutely no chemistry. Even when they're lying in bed together, they're so far apart that they might as well be in different movies.

Summing up, yes, the effects are shockingly bad here, but the real tragedy is that this is a good story that was made into a movie by the wrong people.

My Super Ex-Girlfriend was written by longtime "Simpsons" scribe Don Payne, but you wouldn't know that based on the finished film, which lacks the intelligence and sly wit that has kept Homer and the gang on the air for all these years.

Peyton Reed's The Break-Up proves there is nothing particularly funny or charming about two people splitting up, even if the couple is played by Vince Vaughn and Jennifer Aniston.

A mistake was made: Evening is a book that would have been best left on the page.

The result is more bawdy diversion than historical fable.

Ultimately even the strongest characters deliver mixed results.

Ledger turns in another stellar performance and Cornish is heartbreakingly good also in this well-crafted film. But once that first plunger is pushed, the surprises are few.

What made Aeon Flux compelling and special as an animated series had everything to do with the medium and the freedom Chung was given to shape the story as he pleased. Take away those elements, and Aeon Flux becomes nothing more than middling science fiction, which is unfortunately what the film is.

One could argue that you shouldn't expect a teen comedy to offer a nuanced depiction of the role of education in public life, but in response I'd refer you to "Election" and "Clueless."