The stories of the other competitors are just as fascinating, particularly that of Bernard Moitessier who, after nearly a year at sea, could not bear to return to England, and turned sail for Tahiti.

It's nothing new, but Hawke captures some evocative textures and honest moments.

If you're not a die-hard "Bean" fan, this is probably no place for you. But it's mercifully short (87 minutes), the French scenery is pleasant, a handful of the routines are hilarious and -- with its G rating -- you can definitely bring the kids.

Although Johansson has a knack for nailing most roles, the angry yet fun-loving nanny doesn't quite work for her.

It's more intelligent than most Hollywood movies you'll find in the heat of summer, and its saving grace is the quality of its acting, including Jackson's uncompromising turn as the old fighter, and delicious bits by David Paymer and Alan Alda as veteran editors.

The cruel simplicity of the atrocity is made needlessly chaotic by artless camerawork that swishes rapidly back and forth across the action, to the accompaniment of a syrupy soundtrack.

Though the dialogue feels improvised and honest, the movie is less honest in creating its world.

A gruelingly dull slog through basic horror-movie conventions, should be dumped in the Seine.

Although set in England with a predominantly British cast, Death at a Funeral is no stiff-upper-lipped comedy, but a lean, mean, and often crude, farce.

You don't have to be a teenager to appreciate the raunchy humor and the uninhibited overkill of Seth's porn-obsessed chatter, though it probably helps to be a guy.

As much a call to action as a documentary, it's a compelling and sobering lesson in the devastating effect of human industry on the planet. But a lesson nonetheless.

It's a moderately compelling sci-fi action movie with a handful of scary scenes -- though nothing at all special, and only a shadow of the original or even its 1978 remake.

Before the film flails, like a balloon losing air into a terrible finale, it has the audacity to lay siege to just about every xenophobic bias possible. No one -- or country -- is safe in this comedy and for that alone it's admirable.

An odd charmer with a whisper of autobiography (Blitz makes his film's protagonist a stutterer, just as the director was in school) and it's made even better by young lead actor Reece Thompson.

The best scenes belong to Tucker and director Brett Ratner keys in to his timing, whether it's a Chinese twist on "Who's on First" or a seduction scene in which Tucker blurts out every impulse.

Ponderously plotted, poorly cast, visually undistinguished and devoid of any real verve or charm.

This belabored summertime sequel is moderately less vulgar, certainly less expensive and, if possible, even less funny than its forerunning bomb, "Daddy Day Care."

As sketch comedy, The Ten often is imaginative and sometimes hilarious...Still, like precursors from "The Groove Tube" to "Jackass," it doesn't make for much of a movie.

It's an enjoyable period romance. Yet, ultimately, the unique magic of Austen so beautifully caught in 1996's "Emma" is missing.

The movie is so surreal it's just not very involving. As an action extravaganza, it's busy but dull.

A special film, one that refuses to package a person's life into a comfortably familiar genre.

Hot Rod is a cousin to the comedies of Will Ferrell (for whom it was developed) with a younger skew, a kooky '80s nostalgia (complete with a pitch-perfect synthesizer score by Trevor Rabin) and a low-key amiability that keeps you rooting for Rod and company to triumph.

The meshing of Moliere and Tartuffe into one character creates so many complications and loose ends that it is a fool's errand to try to make sense of the story.

The film concludes that there's still simply no way out of the forest.

By far the best thing about it is Zeta-Jones.

As much as I enjoyed the movie -- and I laughed all the way through it -- the truth is that the big screen adds nothing special to the "Simpsons" experience.

Positioned to be the environmental documentary of the year.

The first half of the movie is repetitive, and threatens to become more about Steidle than the conflict. The second half picks up considerably as we see him actively trying to alert the U.S. government to the atrocities.