It's a complete by-the-numbers daddy-day-care movie that doesn't have a genuinely enchanting moment or shred of inspiration in its overlong running time.

Foxx is magnetic in the lead, and the subplot in which he bonds with his Saudi police liaison (Ashraf Barhom, giving the movie's best performance) is touching.

The perfectly dressed surfaces couldn't be more lovely, but the long fashion show to the finale smothers the emotions under the length and the look, and Lee's insights into the messy feelings that simmer and stew in the hothouse of sex are, frankly, fairly mundane.

It is not giving away much to say that everything ends as expected, just not soon enough.

It tries to be a sappy love story, an incredibly vile gross-out comedy and an envelope-pushing soft-core porno movie all at once. It ends up being an unappealing abomination.

Penn's direction is amazingly sharp and intuitive, full of masterful touches that give an epic dimension and scope to the parable.

Although Bynes exudes a devil-may-care attitude that is fun to watch, the formulaic movie ultimately falls apart around her.

Pitt won the Best Actor award at Venice for his Jesse...Yet it's Affleck who impresses most as the wary, skittish Bob.

Swicord has enough savvy to conjure up a terrific cast that compensates for her rote direction.

The film is a strange, nostalgic, suitably outrageous ode to a very real revolution in consciousness.

Bland and completely uninspiring.

The restraint of both director and actor makes this steely gangster drama reverberate long after it ends. This kind of mystery is rare in a film culture that demands answers before the credits roll.

Once the story moves up north to Indianapolis, things become pat and predictable. But for its first 80 minutes, Great World of Sound hits all the right notes.

Haggis drops exclamation points after his symbolic gestures, but in the rush to drive home his message on the confused mission in Iraq he offers a queasy revisionism that all but denies the legacy of Vietnam. Considering Deerfield is a Vietnam vet, it feels doubly false.

Westfeldt's screenplay and Cary's direction combine to make it the best Manhattan love story since "When Harry Met Sally."

Part treasure hunt, part disturbia.

Certainly, it's mediocre, but no more so than half the comedies that are wildly promoted by their studios these days.

Failing to make a lick of rational sense, Silk grasps at poetic straws.

With The Brave One, Jodie Foster and director Neil Jordan shift the genre to the murky left, where right and wrong are not so black and white. In doing so, they have taken away the very thing that makes a vigilante movie work.

Director Brown has made a career of chronicling the history of American folk music, and Pete Seeger: The Power of Song is a worthy companion piece to his 1982 debut, "The Weavers: Wasn't That a Time?"

The result bears so little resemblance to the original that you have to wonder what happened. It seems more a remake of "How the West Was Won" than 3:10 to Yuma.

Fierce People is no ordinary dud. This seedy soap opera is the most outlandish, campy romp through the mud since "Showgirls."

By 2020, when NASA's Orion lunar spacecraft is scheduled to launch, it's unlikely that any Apollo veterans will still be alive. Sington has done us a service in helping preserve their memories.

Besides being inept, it's also pretentious and boring: an ambitious art film gone horribly wrong.

The whole thing feels like watching somebody else play a video game. Director Michael Davis obviously was more interested in crafting a series of gunfights than a coherent story arc.

As energetic and irreverent as it is -- the movie never finds the inspired blend of edgy black comedy and gleeful journalistic adventure that it's after.

It's a fantasy of a crime epic, to be sure, but it's a glorious fantasy in which the unspoken bonds of brotherhood bathe every shootout and sacrifice in the light of myth.

Before the movie reaches its climax, it has created a mess that requires divine intervention.