Agreeable enough motion picture, but not one that leaves any sort of lasting impression.

The acting is uniformly superb.

A highly satirical work, albeit without the "in your face" style of "South Park."

It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."

It's dull, childish, and uninspired.

Boring and repetitive.

The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.

A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.

It's moderately engaging for the first half-hour, somewhat trying during the second half hour, and virtually unbearable over the final twenty minutes. It's a marginally recommendable film for kids, but not necessarily for parents.

A plot that insults, betrays, and cheats every member of the audience. Stupidity to a degree can sometimes be forgiven. Stupidity to this degree can not and should not.

Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.

Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.

For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.

More likely to end up on the snow pile of forgettable Christmas-themed movies than in the vault of memorable ones.

Appealing and genial with plenty of solid laughs, and worthy of a recommendation for those who appreciate this kind of thing. Just don't expect material that's edgy, dark, or challenging. Consider Love Actually the antidote to "Mystic River."

Represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest.

The film's two big flaws are readily apparent: a clunky screenplay and the miscasting of the lead character.

May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.

The film's heart is undoubtedly in the right place, but so what? Fine ideals don't mean much when they're couched in an inert, pointless storyline.

If there's one thing this motion picture proves, it's that "The Naked Gun 33 1/3" wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.

The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.

Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.

If your reason for seeing In the Cut is to watch America's sweetheart stripped bare, you'll get what you're looking for. On the other hand, if you're looking for a good movie, this one will disappoint.

The film delivers with enough consistency to warrant a qualified recommendation for those seeking a few extra scares at this time of the year.

The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.

Despite its themes of terminal illness, dysfunctional families, and the need to heal old wounds, the film spends more time provoking laughter than tears.

Sylvia underwhelms.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.

Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.

An incomplete movie, artlessly cleft in the middle. Cinema interruptus.

This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.

Disappointing, but barely watchable.

Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.

Once you leave Wonderland, you may feel like you need a shower, but, while you're in the moment, it's a compelling journey into the depths of hell on earth.

As a satire and an off-the-wall comedy, Bubba Ho-Tep hits the bullseye. As a horror movie, it's less successful. Maybe we're too busy laughing to be scared.

Offers everything a good movie of this sort should: plenty of suspenseful action, a few good laughs, and a share of obligatory "reluctant buddy" bonding.

This is a beautifully shot motion picture, and there's no doubt that the lush scenery upstages the actors.

A maudlin hack-job.

Anything Else may not be the second coming of "Annie Hall," but it has more wit and substance than almost every post-college romance that sees the inside of a projection booth.

The movie's musical sequences, which primarily feature popularized versions of gospel standards, are exhilarating and energetic. Unfortunately, that's only half the story, because the so-called dramatic material, which links together all the musical numbers, is mind-numbingly bad.

Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.

An example of a vampire movie for the new century -- stylish, gothic, gory, and loud.

Admittedly, mediocre Sayles is still watchable, but, relative to expectations, Casa de los Babys is a disappointment of significant proportions.

The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).

A bloody fairy tale with no moral and a lot of juice.

Simply put, Sofia Copolla's Lost in Translation is an amazing motion picture.

Want to see a movie where almost everything takes place on a bus? Try "Speed." Jeepers Creepers 2 isn't even worth a peek.

The film will almost certainly speak most strongly to those viewers whose age approximates those of the characters, but the narrative and performances are strong enough to involve anyone who gives this motion picture a chance.

Since the stunts are sub-par and feature considerable computer help, the movie gives the impression that it's trying too hard to be campy and silly.

Message to those who thought Gigli was the worst movie of 2003: check this one out. You'll change your mind damn fast.

A smart movie that does not simplify or candy-coat the rigors of the teenage years.

The best way to sum up Freddy Vs. Jason is: good concept, mediocre execution.

American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.

This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

Infectiously entertaining comedy.

Characters are left half-developed or undeveloped so that as much plot as possible can be crammed into two hours. The result, while not wholly unsatisfying, will disappoint those used to the cinematic richness we have come to expect from this collaboration.

Likely won't please fans of the original TV series, but the movie hasn't been made for them.

Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

The core relationship is what makes the movie with this ill-advised title a well-advised choice.

This movie is a vast improvement over the tired and uninspired "American Pie 2," although it fails to make it to the lofty perch occupied by the first film.

Some of the dialogue is astonishingly awful. Sex and relationships are constantly likened to animal interaction.

It's an enjoyable and occasionally thought-provoking motion picture whose viewership should not be diminished by the unfortunate and inaccurate "anti-American" label.

It's an awkward technique that outlived its usefulness more than four decades ago. I like the movie, but hate its presentation.

The worst action movie of the summer. I liked Bad Boys II a little less, but making the comparison is like distinguishing between a cow turd and a horse turd. And that pretty much sums it up nicely.

Eventually, Seabiscuit settles into a nice rhythm, and, as it enters the stretch run, it exhibits all the necessary elements of a good sports movie. Like the horse it's named after, Seabiscuit has a lot of heart, and, in the end, that's what won me over.

It's a dark and revealing movie, and, while the ending may not be upbeat enough for those expecting mainstream fare, it offers a measure of hope and a catharsis.

The only thing as bad as bad comedy is bad action. Bad Boys II has plenty of both.

For those looking for something positive, this is the only movie I can recall that features music from both ABBA ("Does Your Mother Know") and Handel ("Zadok the Priest"). Let's hear it for musical diversity!

In a summer of high-octane action and testosterone-boosted thrills, this movie is out of its league.

Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.

Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.

The voices were chosen more for their big name appeal than for their ability to bring life to the drawings. The storyline is flat, linear, and shallow.

While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.

It is a cinematic abomination -- a source of embarrassment for everyone involved.

Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.

Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.

It worked once, but the novelty factor is gone. The cheese is still there, but this time it's overlaid with a cynical sense that the only reason the movie exists is because the first one made so much money.

Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."

Hulk represents the most involving superhero motion picture since "Superman" soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do -- allow us to really feel for the protagonists.

No movie could be more aptly compared to raw sewage than this film.

Although Ford does not exactly mail in his performance, this is a lazy job, and far from his best work. On top of that, he has no chemistry with co-star (and heartthrob of the moment) Josh Hartnett.

For those who have a penchant for talky subtitled romantic comedies, this one has its charms, but is probably more worth seeking out once it's on video than during its (probably short) theatrical life.

This movie only takes a few minutes to crash and burn, but more than an hour and a half to realize it.

Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.

The film is as powerful as any narrative motion picture in telling a story that rips at the emotions.

The Italian Job isn't a masterpiece, but it gets the job done.

As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.

A remake, done right, was not a bad idea. And, fortunately in this case, it has been accomplished with some flair. The result is a lightweight source of entertainment that maximizes humor and minimizes serious stuff.

A woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.

It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.

This is one of those nearly unwatchable movies that becomes an endurance contest for any thinking adult.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

Light, funny, and clever.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.