Imperfect as it may be, Bowling for Columbine is riveting stuff.

This balls-to-the-walls action/adventure makes the average James Bond film look like something by Eric Rohmer. It’s high rent Steven Segal - fights, explosions, and more fights, but with a flair.

Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.

A bad movie. No amount of perfume sprayed on talk show audiences by Madonna and her husband can eliminate the stench of failure emanating from this motion picture.

It's not edgy or groundbreaking, but it tells the story it sets out to tell. For what it is, Kosminsky's picture is polished and effective. If only the movie had taken more risks or possessed a keener edge...

Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.

Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.

The result is a grim, startling motion picture.

Red Dragon is done in a painfully mechanical, by-the-book manner. Scenes are assembled to move the plot from point A to point B. There's no atmosphere. No tension. Flat performances. All of these problems are rightfully laid at the feet of the man in charge.

You know you're in trouble when 50% of the running length is devoted to plot exposition, and the movie still doesn't make any sense.

Die-hard fans of Witherspoon and the romantic comedy genre will probably find enough to like in this film to make it worth a trip to the theater. Everyone else would be best served by spending their hard-earned money on something else.

An insult to anyone who has tragically and unexpectedly lost a loved-one in a similar manner.

Riveting from beginning to end, featuring stellar performances, amazing cinematography, and a story without a trace of fat, the film does everything an epic is supposed to do - and more.

A tighter version of the same story might have captured and held my interest, but this one had the proceedings wandering like the riderless camels in the desert.

Has enough genuine laughs to eliminate the potential twitters and snickers, and it treats Edward and Lee as people. We end up caring about what happens to these two individuals, even as we smile and laugh at their antics.

This grim, joyless motion picture is anything but fun. It’s a chore to sit through, with all the blazing, noisy pyrotechnics proving unable to lighten the mood.

One of the most uplifting and delightful films to have come along this year.

Overall, while Spirited Away may not be as complex and imaginative as "Princess Mononoke" in some areas, it is as beautifully rendered and no less sophisticated in its outlook. Miyazaki has provided another triumph, and, in the midst of the quality fall-off of Disney’s in-house animated projects, a reason for animation-lovers to rejoice.

Lightweight, although it exhibits enough heft for us to develop an emotional connection with the main character. I have always appreciated a smartly written motion picture, and, whatever flaws Igby Goes Down may possess, it is undeniably that.

Against the backdrop represented by stark images of abandoned buildings and lost dreams, the tale that is City by the Sea emerges, with the power of the visual cues giving this film its forcefulness.

The film has two highlights -- a profanity-laced monologue by Peter Falk about boxing and the one-on-one confrontation between Monroe and Chambers in the ring.

Defined by three characteristics. It is as stupid as a decapitated worm. It is as irritating as a mosquito buzzing around one's head. And it is as funny as "Schindler's List."

The film is too light and juvenile to be viewed as some sort of darkly subversive satire in which the director is laughing at those of us who take it all semi-seriously.

Williams nails it.

Without the impressive photography and energetic action sequences, Blue Crush would have been a lot worse. But, if the filmmakers had invested in real characters instead of cardboard cut-outs, it would have been a lot better.

Compelling material, especially for those who believe that the lives and loves of the dead can impact the trajectory of the existences of the living.

As much as any other motion picture that employs the preparation and consumption of food as a key element, Mostly Martha provides the perfect blend of cinematic nourishment and gratification.

For Vin Diesel, starring in XXX is a wonderfully smart career move. Too bad neither "wonderful" nor "smart" are applicable adjectives to describe this film.

A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.

Offers nothing more spectacular than a character study. And, although The Good Girl's protagonist may be trapped by routine, that's one claim that can never be made about the movie.

Has once again caught lightning in a bottle and unleashed it on audiences, blending humor, adventure, and a lot of nifty special effects-enabled gadgets and creatures into a movie that provides 1 1/2 hours of unfettered entertainment for children, grandparents, and everyone in between.

Quality-wise, however, there's a big drop off from sex, lies and videotape to Full Frontal.

By limiting the number of special effects shots and treating the film more like a horror movie than a science fiction spectacle, Shyamalan creates a claustrophobic atmosphere and keeps the tension level high. There were times during this film when I was strongly reminded of "Panic Room."

Even the rare individual who died laughing while watching the trailer will discover that only half of that phrase - the "dying" part - applies to the experience of enduring the film.

In all fairness to the film, it is superior to the disappointing second movie in the series. The comedy is about as low-brow as it can get (at least without treading into R-rated territory).

May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.

K-19 will not go down in the annals of cinema as one of the great submarine stories, but it is an engaging and exciting narrative of Man confronting the Demons of his own fear and paranoia.

Oscar's life has the potential to become a Greek tragedy, but Winick keeps things light enough that it resolutely stays a comedy.

If you go to Eight Legged Freaks expecting anything but a campy, cheesy romp, then you have wandered into the wrong theater. This movie is for those who like smart (often self-referential) humor and cheap thrills.

The fact that Reign of Fire does what it sets out to do is a cause for celebration amongst those who like special effects-laden action movies featuring fire-breathing monsters and mayhem.

Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").

There's no evidence of craftsmanship or energy. Everything, from the plot to the execution, is plodding and obligatory.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.

Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.

A soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for NBA properties.

It is at times serious and at times very funny. But it is always perceptive, and that quality, more than any other, is what makes it worth a recommendation.

Mr. Deeds is flat, except on those rare occasions when Sandler reverts to form or when John Turturro steals one of many scenes.

Pumpkin's two greatest strengths: the majority of the film is original and engaging, and Christina Ricci turns in another fine performance. This pair of assets alone is worth the price of admission.

It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.

In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.

The result is that the film comes across as preachy and clichéd. And, while the battle sequences are well executed from a technical point-of-view, they often seem repetitive and uninspired.

Isn't the best coming-of-age story to hit the big screen, but it skirts new territory, and does so with a flare that earns it a recommendation.

Taylor's approach to this material -- mixing occasional humor with undemanding drama -- works well enough that we don't care about the logical inconsistencies and plot holes. To that end, The Emperor's New Clothes ends up as a pleasant diversion.

Nicely paced and fits the bill for those in search of two hours of spy-based action and martial arts. The movie has credibility issues, but none are insurmountable in the name of entertainment.

Captures the essence of its TV inspiration, which is to say that it's not nearly as clever as it thinks it is. It also feels very, very long.

Schumacher doesn't leave an imprint on the film -- it could be the work of any second-rate director.

For a strangely-titled, female-oriented drama about mothers and daughters bonding, try "The Joy Luck Club" and leave Ya-Ya as a phrase uttered by one-year olds who have yet to learn how to talk.

The movie does what all good thrillers should do -- provide enough shocks and surprises to keep us guessing, and never lets up on the suspense until the end credits arrive.

Seems breezier and less self-conscious than the Mike Myers franchise.

An enjoyable experience.

Pretentious and self-indulgent -- those two words come to mind when considering CQ.

Enough is Apted at his most commercial, and, unfortunately, his least compelling.

Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.

Those for whom Spirit was made will find this to be a thoroughly enjoyable production. As a "kids' movie", Spirit is a resounding success.

With this cast, this director, and this source material, I expected to be swept away on a wave of enchantment, but nothing close to that happened.

Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.

In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfils the promise of its name and adds another title to a storied legacy.

The good points about Unfaithful can't overcome the movie's eventual downward spiral.

Offers slim pickings for viewers, regardless of whether they're fans of Woody Allen or not. And I'm sure the French will love it.

This is a pure popcorn movie -- the kind of film one can unabashedly enjoy for what it is. There's plenty of visual flash and dizzying action, but not at the expense of the other qualities that make for a complete motion picture experience.

Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.

Too much of Jason X plays it straight, and that means boredom. Murder and mayhem of this sort quickly becomes monotonous.

Unlike in many thrillers, the movie doesn't sandbag us with one last, cheap twist at the end. The Salton Sea contains its share of surprises, but none of them feels forced or artificial.

With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.

It is possible to make an engaging action/adventure picture of this sort, but The Scorpion King isn't it. The movie isn't godawful, but it's far from inspired, and, as I sat through its 90 minute running length, I found my mind wandering.

Towards the end, Murder By Numbers reverts to form with cheesy clichés, plot twists, and a fair amount of unnecessary action, but that's easily the film's low point.

A huge disappointment -- the kind of motion picture that makes you actively angry at the filmmaker for subjecting you to it and stealing two hours of your life.

It's the kind of thing that Shakespeare might have written if he had undergone a frontal lobotomy.

While Changing Lanes isn't a perfect movie, it's watchable and compelling, and works on more than one level.

As disappointing as the wrap-up is, it can't erase the chilling psychological warfare that represents the majority of what precedes it.

Isn't quite good enough to elicit a purr, but it represents better-than-average movie-making that doesn't demand a dumb, distracted audience.

Has some promise as a throw-away, lighthearted romance. Unfortunately, once those elements are gone, what's left only has a running time of about 13 minutes.

The chief pleasure of High Crimes (and it's a limited one) comes from watching Morgan Freeman, who can bring a sense of integrity to even the silliest thriller.

With a cast of characters so large that Robert Altman would feel at home, Big Trouble manages to do a lot of clever little things and generate quite a few big laughs without wearing out its welcome.

While this outing will not challenge the likes of "The Natural" for the title of the best baseball movie ever made, it's a solid effort in its own right.

For those with the patience to sit through this kind of unhurried motion picture, Time Out offers a compelling character study of an individual under the kind of strain we can all relate to.

In general, parodies may not rely overmuch on plot, but they need more in this department than Death to Smoochy possesses.

Fincher eschews quick cuts in favor of long, leisurely ones. He knows what he's doing, and the proof is in the result. The suspense in Panic Room never ebbs, and that makes for a thoroughly entertaining -- if somewhat exhausting -- 108 minutes.

The film stays true to its unpretentious origins -- it's like a comic book come to life, with an undeniable visual flair, a lot of kinetic action sequences, minimal character development, and a plot that could charitably be called "uneven".

It's often diverting and occasionally funny, but it's ultimately inconsequential.

The moment Showtime begins to take itself even remotely seriously, it loses whatever edge it might have had -- and that occurs less than 15 minutes into the proceedings. The best time for Showtime is no time.

At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.

They center on the devilishly clever, exceedingly enjoyable interludes featuring the aforementioned rodent in situations and circumstances that recall the great animated work of the recently departed Chuck Jones.

In crafting an insider's perspective, Jaglom has done an effective job. It's too bad that nearly everything else fails.

The Time Machine is stupid -- too stupid for the impressive special effects or the competently directed action sequences to wash away the bitter taste.

The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.

If you're desperate to give something up for Lent, make it movies like this one.