Like Dupree himself, the film wears out its welcome a little, but is still entertaining.

Anybody can make a movie that's anti-slavery. But to make a movie that's explicitly anti-democracy-that's something.

I'd gladly take the legend over this dreary pseudo-historical mumbo jumbo.

Fails in what amounts to its only distinct purpose: to smugly push the envelope of depravity farther than anyone else.

Secret Window's premise is certainly new, even if King appears to be plagiarizing themes from himself.

It sticks to what the series does best, mixing souped-up cars with corny jokes.

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.

The potential for real offense is palpable, but Bruce Almighty never gets there; the script is too lazy and incoherent--truly effective blasphemy takes brains and rigor.

Spoiled by its own insatiable desire for envelope-pushing flair; it’s wider-scoped when it should be intimate, splashy instead of subtle, icky but not scary.

The overall feel is Hong Kong to the core…which means CJ7, like the first 25 minutes or so of "Shaolin Soccer," doesn't make many allowances to Western sensibilities.

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

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.

Plays like a modern-day inversion of "Inherit the Wind," highlighting an astonishing shift in the American legal system over the last 80 years.

It's somehow fitting that this purported romantic comedy about dating is, like most dates, clumsy, endless, and absolutely excruciating.

Albert Brooks is expertly cast as a hopelessly neurotic, fanny-pack-wearing podiatrist.

Ichaso seems far too interested in what led to Lavoe's downfall rather than what made him great.

Cheaper entertains a broad audience by recalling an age of family filmmaking when that term wasn’t synonymous with crap.

It's the sourest and most borderline misogynist picture the Farrellys have yet made.

The whole film, in fact, feels slapped together and unfocused. Though the movie’s too dopey for anyone older than ten, there are scenes where characters drink and go skinny-dipping.

Director Mike Newell strips away facades and keeps this movie singing to the feel-good ending where everyone learns a life lesson by graduation time, whatever their choice may be.

The Broken Lizard guys don't so much send up a genre as inhabit it, and subvert it from the inside.

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

There's enough estrogen gone awry in this bitchy teen comedy to make "Mean Girls" look like a Disney after-school special.

Let's be honest: Whether it's Jessica Alba or Paul Walker you're dying to see stripped down to her/his sexiest swimwear, there's only one reason anyone is interested in diving Into the Blue.

The handful of comic moments will serve up a few good laughs.

Noisome, fragmented mess of a movie, the fourth film based on Jack Finney's novel "The Body Snatchers" and the worst of them all.

It's a decent comic-book movie that delivers its goods with good humor and a minimum of bloat.

Unstylized, inconsistent, unconvincing, and familiar to a fault.