From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.

Overall this is a compelling and sometimes disturbing motion picture.

To an extent, Snakes on a Plane reminds me of "Eight Legged Freaks." It has the same kind of off-the-wall, don't-take-it-seriously comedic horror sensibility.

An infectious mix of romance, mystery, and magic.

After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.

Its strength is its humor, which is half-"Seinfeld" and half-"Sex in the City." There's a reason why those shows ran for only 30 minutes each - it's difficult to sustain comedic momentum for longer, as becomes apparent here.

It's not scary, it's not chilling, and it's not interesting.

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

This one is a creepy white-knuckle excursion into horror, where even the "boo!" moments are so well developed that they cause a jolt.

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.