Funny and honest.

Annoyingly simplistic.

Doesn't transcend the yawner template of coming-out films.

Timeless and tragic.

A grounded and unusually matter-of-fact adaptation.

An almost screwball comedy that turns serious.

A goopy Gwyneth Paltrow movie.

It isn't smart or even very scary.

The last half is so superior to the first that you wish they'd rethought the whole thing and devised a way to make it more of a one piece.

The film is always at least mildly interesting, because international arms dealing is a fairly compelling issue, but it's never as informative as a good documentary nor as engrossing as a good narrative. It's a hybrid that's frustrating in two distinct ways.

Deliriously original.

Often amusing but lacks the necessary bite.

Dull and uninteresting.

Unpolished but entertaining.

You'll feel so much better just sending your $9.50 to the Red Cross then catching "I Know What You Did Last Summer" one more time on television.

Quietly unsettling.

A tender, gently paced coming-of-age movie whose strength is its young lead actor.

One of 2005's must-see documentaries.

Arrives in theaters today with a sheet over its head and a tag on its toe. So to speak. What we have here is a complete systemic failure, a comedy that's not funny, with action that's not thrilling.

A perfectly OK drama, with a good cast and many good scenes, but it suffers from the usual maladies that films get when they've been out on the ranch too long: all-too-obvious symbolism and a serious case of the longueurs.

Emily Rose is the thinking person's demon possession movie, which presents a chilling case history that's hard to explain away.

Has no truth, wisdom or honesty, and it's barely entertaining.

Taut and suspenseful.

Terrific.

A silly, freewheeling, candy-colored lollapalooza, but also heartfelt.

Beautiful and utterly entrancing documentary.

The love people have for this city just comes tumbling out of every part of this movie.

There is a maddening sense of dislocation through much of the movie -- a feeling that genuinely fascinating questions have been squeezed out by woo-woo philosophizing and material (like Glennie's brief return to the family farm) of only minor import.