A celebration of the human spirit nothing short of sublime.

The film is inoffensive, and Baldwin is fun and engaging.

Never comes alive.

Fascinating and mostly sympathetic.

Techine has a delicate touch and these lovely moments flow with a life that Martin's heavy, stumbling psychodrama can't match.

Truly, this is a bad script.

The granddaddy of all caper/heist movies. The work that defined the genre for the subsequent four decades of filmmakers, none of whom was able to surpass it for style or suspense.

It's a passionate vision thick with eroticism, but the musky atmosphere gets a little thick and murky.

A decidedly mixed bag.

If you can forgive some plot artifice and gloss, there's a seductively intuitive and resonant theme resting at the core of Jeremy Podeswa's haunting new film.

The lapses in logic make a weak subplot about a serial killer on the loose just plain silly instead of provocative.

Singer deftly crafts a sleek, unusually tight film that balances comic-book adventure, pulp opera and the fear of being different.

Dark farce, a four-handed game of sexual trumps.

(Arteta's) yanked an eerily accomplished performance out of his lead actor.

Willis and Breslin are stuck in a charmless, predictable picture they can't escape.

The funniest thing I've seen this summer.

It's a beautifully crafted, almost perfectly sustained little drama that skillfully makes a subtle, bittersweet point.

Disarmingly funny in its own naive way.

There are a number of funny and unexpected moments in the film, but they are ultimately swamped by the mean-spirited tone and increasingly over-the-top raunch and drug humor.

Not terrible, but distinctly disappointing, not nearly as engaging or thrilling as its premise seems to promise.

It's often surprisingly clever, dripping with respect for its model, and done with considerable wit and style.

In a summer of cardboard figures in splashy spectacles, that makes for a refreshing change, an intriguing, entertaining and altogether sweetly mystifying misfire. In other words, another quintessentially Alan Rudolph picture.

Has a flag-waving dumbness at its core.

It's by far the worst comedy either he (Carrey) or the Farrelly Brothers have ever made.

People who have seen it seem to be crazy about it.

It moves so fast you almost forget it leaves the characters in its wake.

Essentially works, even though the script is a mess and John Singleton's direction is often clumsy and heavy-handed to an annoying degree.

Meanders as aimlessly as its drugged-out characters.

Densely layered, demanding and beautiful, Ruiz has found the perfect venue for his passions and created the most cinematically breathtaking film of the new millennium.

A highly entertaining film that still packs much of the punch and the quirkiness of Willeford's novel.

A beautiful and compassionate work, at once stark, sensory and spiritually grasping, that challenges us to forgive even the most monstrous sins.

Outside national borders, this naive vantage point is an entry into a country's history and culture, explaining without seeming patronizing.

Prinze and Forlani coast on charisma alone, but even their charms can't coax magic from the prosaic dialogue and romantic clichés that clog this listless comedy.

Pleasantly modest, endearingly etched and briskly set to a pounding beat.

It's never hugely engaging and it's instantly forgettable, but it has a certain goofy charm.

This retread has been bloated far beyond its B-movie origins, beefed up with more characters and an all-star cast, stripped of any real suspense and loaded down with music cuts and one-liners aimed at pleasing a crowd of rowdy male teenagers.

Charged with raucous energy and a satirical slant, this witty history lesson is preaching to the converted, sharing a knowing wink with everyone who's ever inhaled.

The formulaic screenplay has enough funny moments to keep the audience from concentrating on the predictability of it all.

He (Chan) still can turn a silly little action comedy like this into a high-spirited, butt-kicking good time.

While there is a faithful following of kids, it just never seems as exciting or sad or emotional -- or as ablaze with personalities -- as what has gone before.

Though a hypnotically beautiful film, it's dramatically listless and dull, and completely lacking in passion.

Much of this movie is very funny, it has some genuinely endearing moments.

The story line is the typical M:I labyrinthine mess, made even more confusing by the always challenging Robert Towne as screenwriter, and by the continuation and overuse of the flawlessly lifelike "mask" device established in Part One.

Too bad they didn't skip the gags and one-liners, along with the songs, and go the distance in making this an authentic dinosaur world.

The film still shines.

Allen has avoided his usual stable of jokes and one-liners, and the result is a film that feels and looks fresh from the maestro of urban angst.

This is a familiar journey and director/co-writer Todd Phillips sidesteps every opportunity to inject a little edge or originality into it.

A real dud, with few laughs, no characterization, little story, a cluster of stereotypes and clichés and just plain nothing for Foxx to do.

An alternately angry and sad portrait, passionate in its presentation and moving in its portrayal of individuals who sacrifice their love for the tenets of their religion.

Ultimately the ballet performances, and notably the work of Stiefel, a star with American Ballet Theatre, are the only moments that deserve center stage.

It should have warned us that logic was also hitting hard times.

Fresh, vibrant and vital, this interpretation reminds us why Shakespeare is timeless.

A bubbly, high-spirited paean to the joys of pharmaceutical phun that grooves to a throbbing beat but constantly trips over flat, prosaic dialogue and literal, lifeless sight gags.

It's a rich work, lush and lovely and bustling with activity but paced at a contemplative stroll, like a time lapse recording in first gear.

A delight, a vigorous, vibrant romantic comedy that mines emotional desperation and frustration for all its comic potential, but never at the expense of its temperamental heroine.

It has some wonderful moments and a handful of delicious Maughamian characters.

Far from a great movie, it nonetheless does its job as a family adventure and saga of a woman's personal growth.

Woven from such promising threads that you wish it was better.

It lives up to the hype. Gladiator has its creaky moments, but it delivers a particular kind of visceral historical spectacle that movie audiences haven't seen in decades.

A clever, charming, laugh-out-loud-funny road comedy that works in almost every scene.

The most totally appealing and seemingly heartfelt performance of (DeVito's) career.

The real problem here is that director Krueger has no flair as a writer or a director for inspired screwball comedy.

A suspenseful, fascinating movie that milks the premise for all it's worth.

A cheerful and stylish romantic comedy that's easy on the eyes and ears, and makes few demands on the intellect.

Von Trier is far more hypocritical than his straw-figure characters, and he's simply too cynical and insincere to be provocative.

Levant turns up the slapstick, doubletakes, and epic fart jokes to a tortured extreme.

It induces a serious case of sensory overload that left me drained and edgy.

In no way is this a serious movie. Still, it's hard to resist.

An airless, mannered mess.

Entertaining in a trashy sort of way.

A botched job: the various relationships and personal histories of the characters are never made clear, the last act is glaringly disjointed, the writing and direction are all over the map.

All the jazzy effects and jumpy editing merely move us quicker to an otherwise predetermined tragedy.

Definitely works as an action piece, it's often surprising and never boring, and several sequences had me positioned well on the edge of my seat.

While young Coppola is a pro with her camera, she'd be wise to brush up on her storytelling skills.

Uses sports as metaphor for life with rare twist.

A pleasant, old-fashioned kind of a love triangle.

Exquisite and fragile in visuals and tone, yet has some difficulty with a choppy narrative.

A fairly loathsome and shallow movie about loathsome and shallow people, but it's almost worth catching to see star Christian Bale chew up the scenery.

(Bullock's) performance, and the movie's serious side, soon get lost in an overly slick script.

It's a lifeless little caper piece that never develops the magic and intellectual fascination it needs to bond with an audience.

Bounces between funny and chilling.

Has the sensibility of a Hollywood "woman's picture" of the '40s -- the weepie saga of a married woman trapped in an untenable situation.

A rousing and gently inspirational story of an underclass kid made good, but it's in those cultural glimpses that the film shines.

A gentle and often beautiful study in opposites.

By the time the film plummets to its rock bottom, we find ourselves in a flag-waving no-brainer of the first order, and one of the most thoroughly confused morality tales in recent memory.

A welcome return to the courtship, cuddling and sweet nothings of yesteryear.

Stephen Brill's flat-footed script begins as an idiot comedy with the gross-out gags of a Farrelly brothers film.

Likely to provide many points of identification for many women.

When the film suddenly turns into "Rocky" -- as all boxing films of the past two decades invariably do -- it invalidates its theme.

Its animation is simply glorious, but its story and characters are trite.

Cohen drives the film at a galloping pace, but it's not fast enough to outrun its absurdity.

It's aimed squarely at a young dating audience, and is not likely to be hugely captivating for anyone out of that demographic.

A film with a real depth, resonance and texture, and room for an ensemble of supporting characters.

It's so beautiful and moving and simple that I'm willing to forgive Majidi his contrivances.

Gunnarsson masterfully weaves these strands into a bold, multilayered tapestry surrounding a powerful story.

A beautifully drawn film and engaging story marred only by its vague character development and mediocre voice-overs.

In fact, when not kicking butt, (Li)'s kind of a blank spot in the center of the screen.

She's foul-mouthed, trashy, a legal pit bull ... and she's wonderful.