Though McConaughey has proven himself game for romantic comedy contrivance in the past, his charisma is all wrong for the immature Tripp.

The film's lack of focus leaves most, if not all, of the characters just a hair less developed than they should have been; the plot holes just a bit more conspicuous than they might have been; and the ending just a touch less poignant than it could have been.

Ginnifer Goodwin gives a standout performance--and that’s saying a lot considering the large cast--as the insecure, neurotic female looking for love.

On the plus side, there are these super-scary mechanical octopus-type things with a billion eyes and metal tentacles that fly in great awful swarms and look like the non-organic versions of the flying-brain-and-spinal-cord monsters that made the otherwise laughable '60s sci-fi flick "Fiend Without aFace" so cool.

Like the equally dull romantic drama "Catch and Release," which was in theaters for a nanosecond back in January, In the Land of Women strains to convince the audience to that it's telling a real story about real people. But with its glossy visuals and photo-shoot ready cast, the movie ends up presenting us with the very opposite of reality.

Lambs feels five years too late.

In this sequel, as Elle uses her good-hearted pluck to work toward her goal, Witherspoon is a sheer delight, all charm and light and loveliness; you just want her to win.

A riveting urban drama that tackles a myriad of sociopolitical issues -- conflicts of race, sex, class, marriage and politics -- without spreading itself thin.

Part of what makes these kind of war movies such cinematic comfort food (aside from the moral certainty they strive to convey) is their familiarity. But I wonder if said familiarity is what compels contemporary filmmakers to overstuff the material -- Flyboys is a good two hours and 20 minutes.

While the movie will definitely not be to everyone's taste, black-hearted romantics will find Choke easy to swallow.

This is Gere’s movie, and Sarandon and Lopez graciously let him dance away with it.

Halloween is a real, classic-style horror movie, not an exercise in gross special effects. Oh, and for those who’ve missed Carpenter’s classic, this will scare the candy corn out of you, but the original is still champion.

The real top billing, what audience-goers are obviously shelling out to see, is the computer-generated chaos, and as they should: Digital technology has caught up with our collective imaginations Now More Than Ever.

The family dynamic, paired with a few delicious action scenes, is engaging enough that we hardly notice the fillm's major flaw, a rather flimsy and sometimes jingoistic subplot having to do with California's independence.

A chick-flick on a sugar high, so giggly-bouncy and nostalgic for the fantasy-girlhood of its audience that the DVD, which should follow relatively quickly, should come packaged in big pink bows and include a coupon for a free pony ride.

Feels more practical than whimsical, more politically correct than sweep-you-off-your-feet romantic.

Not even within earshot of a masterpiece, Man on Fire, based on its ratio of production costs to quality alone, may prove to be the worst movie of 2004.

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.

The studio wimped out, and the result is a lesser production on every level: talent, script, content, and purpose.

Ultimately, we don't purchase tickets to Will Ferrell movies for their sweeping romantic storylines, but because he makes us laugh. And Semi-Pro offers plenty of reasons to do so.

Films like this have a way of finding their own devoted fan base, and Gypsy 83 deserves to be discovered not only by Goth and gay crowds, but by anyone who runs screaming from all things average.

Belongs to the same class of cotton-candy romances as "Chances Are" and "Somewhere in Time," although it steers its light-hearted subject into darker territory with the life support subplot.

The actors in The A-Team are all excellent, and they save a movie that routinely defies logic and physics Liam Neeson brings credibility and gravitas to any role he plays, but as "Hannibal" Smith, he swaggers like a paternal Han Solo.

From my perspective, the film's anti-Semitism is implicit rather than programmatic, and, in the film's current form, a little sneaky.

There's a lot to be said for a movie that isn't after instant fame, but only wants to make audiences feel good.

The supporting players do a serviceable job in their roles, but no amount of Oscar-nominee nuance from Giamatti or Linney can salvage what amounts to a candy-striped trifle for post-collegiate slacker existentialists.

One of those infuriating films that can't allow this already dramatic situation to fester and develop on its own.

Kevin Spacey is a darn good actor, and he's a pretty good singer to boot. But those traits alone do not excuse the painful experience to be had sitting through Beyond the Sea.