Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

A colossal disappointment. Not because it's superficial and shallow –- those characteristics pretty much go with the territory –- but because it's boring.

Light entertainment, this is not. Unforgettable and challenging cinema, it is.

It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.

The story's entire foundation is based upon a plot hole so gargantuan that anyone not suffering a brain cramp will identify it at once.

When it comes to mockumentary parodies, no one does it better than Christopher Guest.

Essentially a one-joke movie that milks its central conceit long after there's nothing left.

Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.

A thoughtful, almost poetic, piece that puts forth the argument that redemption is not easily achieved.

The Man Without a Past is a modern fairy tale. It certainly is divorced from reality. Despite this -– or perhaps because of it -– it's a satisfying motion picture.

The best pure thriller of 2003 to-date.

Effectively paced and nicely choreographed, the fundamental letdown of the ending results in a mild sense of dissatisfaction.

Lovers of drama featuring quirky characters will find things to appreciate.

So howlingly awful that it has unwittingly found a place in that elite group of films that can claim to be "so bad they're good."

Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.

Comes across as a cheesy, fundamentally unsatisfying experience.

The key term here is "fairy tale," because, although the movie occasionally tries for dramatic moments, they're overplayed, undercooked, and divorced from reality.

A mediocre diversion -– a movie better watched at home where the remote control can be used (if necessary) to fast forward to the film's best part: the obligatory end credit outtakes.

Isn't worth the time, money, or effort. For Stephen King aficionados, it's just the latest cinematic nightmare.

As high camp, Willard might have something going for it, but not as a horror movie.

This is schlock -– by-the-numbers action that ignores character development to the point where we find it hard to care whether L.T. catches Hallam.

Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.

Not a complete waste of time, but it doesn't make us FEEL the way better dramas do, and, in the end, it lacks the qualities that would make it memorable or powerful.

Fuqua takes a genre picture and, by diverting the story onto an unconventional path, generates a sense of urgency. Tears of the Sun is not a great movie, but it is satisfying, and represents an example of accomplished filmmaking.

The plot is straightforward and predictable to the point of painfulness.

Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.

Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.

Russell is the reason to go to the theater. He will continue to hold your attention when things around him -– like the storyline -– lose steam and credibility.

Quickly causes viewers to lose patience, then interest.

Old School is exactly what director Todd Phillips intends for it to be: low-brow, moronic to a fault, and occasionally side-splittingly funny.

The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.

If ever there was a movie that could cause even the most restless sleeper to fall into a deep slumber, this is it.

Slow moving and low key, and, when the final credits roll, you feel like you have spent nearly two hours in the company of a few real people, not constructs of a writer's imagination.

This lame animated fable, despite having "direct-to-video" written all over it, was released by Disney, in an act of unparalleled greed and desperation, into multiplexes.

It's an adequate superhero yarn, but, hopefully, it's not the best of the burgeoning genre that 2003 has to offer.

It's difficult to overstate how much of a rare find this movie is. Colombani and her cast remind us that the best thrillers are built upon superb writing and strong acting.

Pretty mediocre entertainment, and probably better suited for home viewing than a trip to the multiplex.

Deliver us from directors who think that asking cast members to overact is the only way he can cover us the numerous ludicrous weaknesses of his screenplay.

What's missing? Simple: the romance. This movie is so intent upon getting cheap laughs and putting the protagonists in uncomfortable situations that it forgets they're supposed to be falling in love.

Devoid of life, intelligence, humor, and anything else that could entertain even the most undemanding viewer, this film is a perfect example of something that should have been shipped to landfills, not multiplexes.

There's nothing excessively problematical with The Recruit that excising the final fifteen minutes wouldn't cure.

The movie mandates complete gullibility and vacuous attention in order to work on any level.

If ever a romantic comedy is going to fail at the box office, this is it. The movie isn't a guy's thing, a girl's thing, or anybody else's thing.

Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

Murphy in particular deserves better, but at least she got a boyfriend and a paycheck out of the deal. No such benefits await those who sacrifice both cash and time to see this movie.

It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.

Good, solid entertainment.

Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.

Scholars, psychologists, and theologians can debate the point at length, but there's no doubt that Meyjes' approach is as provocative as it is controversial.

As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.

I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.

An enjoyable, although not ambitious, holiday outing.

A movie that is relentlessly inoffensive and completely unoriginal –- two qualities that combine to make it only sporadically charming and rarely (if ever) compelling.

Without a hint of regret, the filmmaker freely borrows from such diverse sources as Martin Scorsese, Quentin Tarantino, Oliver Stone, and the TV program "C.S.I."

Doesn't come close to masterpiece status. There are some great individual scenes and a tremendous performance by Daniel Day-Lewis, but the connecting material is mediocre, leading to the occasional twinge of dissatisfaction.

There are a few occasions when Antwone Fisher crosses the line to become too syrupy -- For the most part, however, the production radiates emotional honesty.

Moves slowly -- it's an unhurried, talky affair that consists primarily of members of the small group of characters interacting.

Like its predecessor, The Two Towers is a great motion picture, and not to be missed by anyone who appreciates fantasy adventure.

This isn't just typical, unchallenging Hollywood drek -- it's typical, unchallenging Hollywood drek made by people who don't care, for people who don't care.

It's a wretched attempt at entertainment, ephemerally redeemed only by the appearance of several attractive girls.

A shamelessly uplifting motion picture that attains its feel-good status by forging a deep emotional connection between the undertrodden protagonist and the audience.

I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.

Because the script is smart enough not to insult us and to develop a group of interesting characters, the act of watching the film is an entertaining experience rather than a tedious exercise.

The venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.

A genial and unremarkable comedy with its share of tepid laughs. It's a significantly weaker offering than its edgier, livelier older brother.

An occasionally maddening and sometimes brilliant motion picture that varies between being insightfully sharp and insufferably self-indulgent. Regardless of whether you appreciate the movie or not, it's likely to stay with you.

At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.

This is as dreadful a holiday offering as you're likely to find this year. A lump of coal would be more welcome.

Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.

There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.

This is a train wreck of an action film -– a stupefying attempt by the filmmakers to force-feed James Bond into the mindless "XXX" mold and throw 40 years of cinematic history down the toilet in favor of bright flashes and loud bangs.

Almodovar also manages to conclude the film on a hopeful note, and one that will have many audience members wishing that he will someday return to tell more about these characters.

The acting, especially by the male leads, is superlative.

The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.

A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.

This film offers a compelling scenario of what could have happened. And Burger's look back through the recent mists of time is certainly no less likely or fascinating that Oliver Stone's in "JFK."

Whatever the reason, the characters often seem only half-formed and there's a strange artificiality about the entire endeavor. Egoyan has never been a realist, and his style has contributed to his ability to deliver a knockout punch. Here, that punch is missing.

Not an indictment of the Catholic Church as a whole, but a thought-provoking look at what can happen when decent individuals are seduced by the power of their position.

As is usually the case with a well made sports movie, you don't have to appreciate the particular sport in order to enjoy the movie. 8 Mile has not been made solely with fans of hip-hop music in mind.

Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.

Nothing short of a disaster -– easily one of the worst movies of the year.

As family films go, this one offers an engaging and exciting 90 minutes.

Entirely inoffensive, so it makes for perfect family fare -– but only if the children are young enough to be indiscriminating about what they're seeing.

Contains multiple ax murders, lesbianism, incest, a hanging, and a storm at sea -- yet, despite all of this seemingly enticing material, it's a bore.

This is probably Murphy's best comedic performance since "Bowfinger." The adrenaline is pumping and the outrageousness is dialed all the way up. Murphy is often funny, and occasionally hilarious.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

Isn't terrible. It's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating, involving character study, but never does more than scratch the surface.

About as frightening as Walt Disney's Haunted Mansion.

With the flat characters and lifeless performances, it's a wonder that anyone in the audience can stay awake all the way through this dull and dreary production.

Gives life and meaning to an event that is little more than a footnote in history books (if that).

Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.

It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.

Takes things too far by leaving about 75% of its questions unanswered. This isn't an artistic choice; it's screenwriting sloppiness, and it results in a profoundly dissatisfying experience.

A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.

What Brown Sugar lacks in originality, it makes up for in charm.