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.