It's more interesting than it sounds. Besides the sheer spectacle, which is notable.

A cute and amusing little romance that has all the fiery impetuosity of an egg sandwich.

More thoughtful and pleasing to the eye than any blockbuster in recent memory, but its epic length comes without an epic reward. It's a slow ride to the same old place, nonstop action, accelerating in scale, culminating in the smirking promise of a sequel.

A low-budget wonder: rough and gritty around the edges, filmed for what looks like a budget of $1.98, but bristling with energy, passion and intimacy.

Tense and compelling, with the added charm of a mischievous spirit.

A time-waster that might be diversionary on a dull cross-Atlantic flight -- but only in the absence of alternatives.

Rote drama better suited for British television than theaters.

Like all Shelton's movies, Hollywood Homicide rambles and shambles, and like most of them, it ultimately settles into its own appealing rhythm.

The exception is Willis as Spike. He's got more energy than the rest of the cast combined.

Although Lounguine has a lot to say about Russia's struggle in its transition to global capitalism, his film is strangely uninvolving, lacking dramatic sweep.

Suffers from its enthusiasm, so fueled by anger and emotion that storytelling grows clouded. Irreverence gives way to polemic, then to an orgy of violence.

To call this effort misguided would be kind. The job this "prequel" does on the original Dumb and Dumber is the movie equivalent of surgery that removes all the vital organs and then gives the patient a prosthetic third arm. What's needed isn't there, and what's here we don't need.

Low-budget, oddly cast and strictly indie all the way.

The result? Well, as expected, director John Singleton ("Boyz N the Hood") did not make a movie as good as "FF1." This is way better.

By the end, a sense settles in that Whale Rider could have accomplished as much -- and been considerably more powerful -- as a 25- minute short.

Powerful and surprisingly timely.

This is pure entertainment but smart entertainment, plotted and executed with invention and humor and acted by a winning cast radiating good-movie energy.

Standard hack-and-giggle fare, with a few wisecracks mixed in with the gore.

A superb documentary.

The visuals pop, the fish emote and the ocean comes alive. That's in the first two minutes. After that, they do some really cool stuff.

Relies on comic formula -- but does so with more than usual panache.

A modest amusement.

On its own terms, the movie succeeds. Like a fable, its meanings are unspecific but haunting.

Even apart from the fact that it's not nearly funny enough, Bruce Almighty is a peculiar film.

A particularly strong family drama, and the Icelandic setting helps, adding a touch of the exotic.

Does a beautiful job of capturing that mood -- the exuberance and wistfulness of one man's last year of youthful irresponsibility before joining the rat race.

Better for several reasons. First, they've jazzed up the animation. The backgrounds appear to be digital, and they are striking. The story is also less violent and combative.

Martin Compston, the young man-child of Sweet Sixteen, had never acted before, but his combination of sweetness and rage -- part puppy, part pit bull -- gives Sweet Sixteen a shot of reality and a big, aching heart.