A respectable caper movie in the tradition of "The Sting" and David Mamet's "Heist."

One has the sense that if the level of violence had been ratcheted up a little, Paparazzi might have been more of a guilty pleasure and less of a chore to watch.

As the movie approached the end credits, I cared about what happened to these characters, and that made the coincidences and occasional missteps forgivable.

Despite its flaws, the movie is compulsively watchable, and few will be bored by it. It's a charming movie that falls short of greatness, but is still worth a solid recommendation.

The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.

If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.

So bad that it will annoy and/or bore those who have minimal standards and a high tolerance for sewage.

By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.

One of the best thrillers I have seen this year: tight, taut, and unpredictable.

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.