You've got to give the guy (De Palma) some credit. He's made a bizarre, baffling and at times flat-out bad movie. But at least it's rarely boring.

You can't help but see this movie being crafted out of shards of movies past, seemingly in a cut and paste method. In the hands of a less skillful director, the film could very easily flop, but it doesn't.

A charming midlife crisis of a movie that bottles the "La Femme Nikita" director's typically high-concept inclinations in a modest indie package.

The heretofore nothing-but-delightful Simon Pegg stumbles in the long-anticipated feature film directorial debut of -- ta-da! -- David Schwimmer, who takes the sow's ear of a script given him by Pegg and Michael Ian Black and deep-fries it into a burnt pork rind of a movie.

What once was a gifted comic's fluid improvisation is now a doddering old man so embarrassing he's uncomfortable to watch, and the surrogate father-daughter needling he has with Johansson is creepy when you realize Woody the director is shooting her seductively in that skintight bathing suit.

As for me, watching this overripe, ignorant parading of Hollywood privilege an hubris put me in mind of a different song--Neil Young's "Revolution Blues." Specifically the bit about Laurel Canyon being filled with famous stars . . .

Paths collide and allegiances form between the good, bad, and ugly, but under the incoherent direction of Chalerm Wongpim, a clunky dullness sets in whenever the action subsides.

While not a masterpiece along the lines of "The Lion King," and not a super-smart witticism-fest like "Lilo and Stitch," Brother Bear is deeply heartfelt, touching, and beautiful.

Doesn't always work -- like its title, the movie straddles two separate worlds, landing squarely in the dreaded realm of "dramedy" -- but it's a noble effort.

The film feels like a natural successor to "The Wedding Singer's" strange blend of humor and humanity, a gently silly comedy that's actually romantic without making anyone sick in the process. And that just might be a first.

When confronted with real problems--and there's enough melodrama here to top a movie-of-the-week marathon on Lifetime--these otherwise empowered characters seem helpless to defend themselves.

In the film, the cleverness just isn't there. There's still a lot to like about Chicken Little - the animation is top notch, and the characters, if somewhat recycled, still generate the requisite sympathy and chuckles.

There are moments where Spacey and Bosworth have their fun in spite of the film -- they both adopt Southern "characters" as disguises at one point, which is a hoot -- but overall, 21 is a busted hand.

One suspects the truth will only be revealed if or when Phoenix starts acting again. Certainly on this evidence, he's no great shakes at hip-hop.

It's the details that make Dummy such a winner. By way of comparison, consider last summer's "My Big Fat Greek Wedding," in which each actor put a heartfelt spin on his or her one-joke character (the father who believes that Windex cures everything). Well, here's an entire movie built on nuggets like that.

There are so many facts presented that many of them feel forced and trivial. We were also a little disappointed with the twist ending.

For a movie built around a brightly-colored, magical toy store, Mr. Magorium's Wonder Emporium is surprisingly forgettable. In fact, it's most wondrous feat is just how it manages to waste good actors and fine performances.

It really never amounts to more than a barely warmed over rehash of teen dance flick moves.

Filmed in 2005, the first of two Cusack widower flicks this season (the weepier and more indie "Grace is Gone" hits theaters in December) Martian Child is also a Franken-schmaltz monster of cobbled-together Cusack movie parts.

After a slow start, this feel-good family film is a nice postcard from the Big Apple that may benefit New York and the Museum of Natural History as much as it does 20th Century Fox.

In the scenes where Efron isn't on screen, things tend to get boring. Plus, we could've lived without having watched so many scenes where Zac is showing off his basketball skills.

Betty White is what makes this film memorable as Andrew’s grandmother. She steals every scene, and adds the sweetness that a film like this needs.

The movie does feature a nice, teasing chemistry between veteran actors Voight and Mirren (who clearly relishes the chance to break out of stuffy melodrama), but this shallow, empty puzzle requires more than playful banter to satisfy audiences willing to pay to play.

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

One of those slow-baked Southern character studies about taking an old flat tire of a man and finding some way to love him anyway.

If you are a big fan of country music, you will enjoy it for the Taylor Swift, Rascal Flatts, Billy Ray Cyrus and of course, Miley Cyrus performances.

Chris Columbus, true to his namesake, has chartered new waters of lazy hackdom with this "Clash of the Titans" remade as a CW tween soap.

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."