The film is critic-proof and it will find an audience, but it's hard to imagine even the film's target demographic (teenage boys) being overly enthusiastic about the product. It's disposable entertainment of the worst kind.

The limp movie seems to be an attempt by an Australian to mimic a bad American romantic comedy, and, unfortunately, he succeeds admirably.

Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.

Ron Livingstone plays his part relatively straight, and, as a result, comes out unscathed.

Code 46 is like "Solaris" without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical.

It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.

The result, regardless of how it was arrived at, is gutless.

Watching a misfire like Thunderbirds illustrates how impressive the "Spy Kids" movies are.

For those who like the director's body of work, appreciate "The Twilight Zone," and have a high suspension of disbelief threshold, The Village is likely to satisfy.

As long as you go into Garden State with reasonable expectations, its capacity to disappoint will be limited.

She Hate Me is a mixed bag, but at least it's interesting and almost never boring.

A serviceable thriller - no more, no less.

A catastrophe. This motion picture is an embarrassment to all involved.

This is a movie to restore the faith of those who had given up on science fiction after "The Matrix Reloaded/Revolutions." By adeptly combining action and ideas, it proves that Hollywood can still produce astonishing entertainment.

Disturbing. It is impossible to sit through Maria Full of Grace and not be affected by the circumstances of the characters. For that, the credit must go to Marston and his actors.

Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.

It's hard to say whether Anchorman is the funniest movie of the year - it has enough offbeat and gut-busting moments to make it worth consideration in that category.

Too long and too full of itself to offer more than a few fleeting moments of entertainment. It doesn't take long for tediousness to triumph.

As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.

In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.

The Clearing is being positioned as "adult counter-programming" for the summer season, but the benefits of seeing this movie may not be worth the patience necessary to get through it.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

Sadly, the elements that made the book special did not survive the transition to the screen.

The real problem with Fahrenheit 9/11 isn't that it attacks the current Republican administration, but that it does so clumsily and with poor focus.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.

In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.

Probably best skipped - unless you have a penchant for shallow, "comfortable" foreign films that offer obvious messages and never attempt to challenge the viewer.