The Night Listener is by no means an example of perfect filmmaking, but it is the kind of movie that stays with you.

You laugh a few times but, in the end, you wonder why you bothered.

Too often, Boynton Beach Club feels like a made-for-TV movie with a little sex, nudity, and profanity thrown in to spice things up.

The two best words to describe the 2006 motion picture Miami Vice are "stylish" and "intense."

A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.

John Tucker Must Die is toothless. The jokes are obvious and unfunny, the storyline goes nowhere that's interesting or unexpected, and the only chemistry happens in a science lab.

Why bother with wit, intelligence, and emotion when children will be equally entertained by pretty images, colorful action, and the obligatory poop joke?

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.

This is a funny movie. It delivers plenty of laughs, but it isn't in the same league as "Clerks." I left that movie holding my stomach from laughing so hard.

This is sloppy filmmaking, and it's likely to wipe away whatever luster still remains to Shyamalan's reputation.

While Monster House is in no way groundbreaking, it's an enjoyable way to spend 90 minutes, and is suitable for all but the youngest children.

Casting helps the film work. Uma Thurman is among the few actresses who can pull off this role: the hot, buff, slightly deranged superhero and her dowdy, un-sexy alter-ego.

A mess of conflicting tones and missed opportunities. The only one to emerge unscathed is Kate Hudson, who exhibits qualities she has rarely shown since her breakthrough role in "Almost Famous."

The slow, uneven beginning is more than compensated for by the rousing climax.

If ever there was a movie more destined to become a cult phenomenon, I don't know if I can name it.

The Devil Wears Prada is two films in one: a caustic, energetic satire of the fashion world and a cautionary melodrama. The first works; the second doesn't.

Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.

Wassup Rockers is amateurish, but without the redeeming qualities found in "Kids" and "Bully."

There are times when the comedian falls back on his typical shtick, but the film doesn't shy away from the darkness inherent in this kind of story, and it has a heart.

It's all about eye candy and the quick tease. It's not over fast enough.

I am conflicted about this film. I like the fact that it takes chances. I appreciate that it's trying to do a supernatural love story without falling into the schmaltz of "Ghost." Yet I recognize that the screenplay is like Swiss cheese - riddled with hole.

Too much in Nacho Libre doesn't work to enable me to recommend it to anyone except a card-carrying member of the Jack Black fan club.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

This combination of storytelling, singing, and corny comedy is sometimes a little too slow and long-winded for its own good, but at least the aftertaste isn't bitter.

What really matters in this film are the lead characters - Resler and Russell - who are interesting enough to warrant such a cinematic endeavor. The upbeat film touches on serious issues without becoming lugubrious.

Fans of the original will end up doing shot-by-shot comparisons. On every level, The Omen isn't just bad filmmaking, it's bad storytelling.

The Break-Up is like Danny DeVito's "The War of the Roses," but without the wit, the acid, and the blacker-than-black humor.

District B13 is action porn. It's a series of amazingly choreographed, kinetic action sequences tied together by a laughably bad script and worse acting.