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.

If you can get past the impossibilities it is a fun time at the movies.

An old formula made fresh.

Less an original product than a shoddy tribute to other mediocre cop movies.

Biting and incisive.

Pretty insubstantial.

It's a love story only in passing. And yet the love story is what lingers in the mind and gives energy and meaning to everything that happens on-screen.

Filmmaker Michael Almereyda gives the most persuasive possible account of the upswing in Eggleston's critical standing.

It's the cinematic equivalent of an all-dessert meal: After the initial jolt, the lack of any real nourishment is apparent, and it becomes a struggle to stay awake.

The Cave is National Geographic mixed with Roger Corman, and by the end you'll probably be wishing you saw "Red Eye" instead.