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.