It's a sumptuous mood piece.

Unfortunately, the film assumes viewers have such a vast knowledge of Fellini's life and films that it's likely to play best to graduate film students.

The surprise is that it's one of the most exciting and enjoyable disaster epics to come out of Hollywood in some time.

Comes together with a wry sense of humor, a total lack of gratuitous movie nonsense and a graceful dignity that allows the humanity of his characters to shine through in a very special way.

Grueling but ultimately rewarding new documentary.

As a thriller it's dull and incomprehensible; as a romance it's empty and emotionally uninvolving; and as a character study it's strangely repulsive.

Insipid, overcooked and dull.

When Rock hits he's dangerously funny. If he didn't try so hard to be liked, he'd be even more dangerous.

There are more laughs to be wrought out of Myers' militant flight-attendant training school, and they're just not there.

An uneasy mix that's too long, too confusing and too undramatically paced to be consistently gripping, and so blatantly panders to teenagers.

Underworld opera of the bravura kind, this is driven, like most Hong Kong action, more by emotion than logic.

Doesn't even fall in the lowbrow-but-entertaining comedy category. It's unabashedly dumb and pathetically offensive.

Certainly kept the toddlers (including mine) at an advance screening engrossed, but for parents and reviewers, it was more of a struggle.

Has the modesty of a savvy, smart drive-in movie with Hollywood studio polish and a movie buff's loving care.

All about the thrill of the chase, and Friedkin challenges the antiseptic spectacle and fantasy flamboyance of computer-enhanced blockbusters with a lean, mean manhunt thriller and gritty, hard-edged style.

Everything in Agent Cody Banks, from tacky special effects, inscrutable action scenes and drab visuals (including substituting Vancouver for Seattle), panders to its audience.

Terrifically fun entertainment; wonderfully shot and acted, instilled with spirit and life and able to woo us with its exhuberant freshness.

Outside of its star power, it reeks of indie film and doesn't hold much mainstream steam.

For a film so intent on the rules of engagement, this is hardly engaging drama.

Never quite escapes the Euro-centric blinders of its characters, but its engagement with their evolving sense of identity and story of empowerment and acceptance is nonetheless rousing.

The cast is as likable as it is improbable (especially Nivola, who all but steals the movie as the charmingly decadent rocker).

The supporting cast, peppered with seasoned pros like Levy, Smart, Betty White and a hilarious Joan Plowright, milk underwritten roles with gusto.

"Time destroys all," claims the film, but the monstrous capabilities of human evil is the real culprit here, and Noe is determined to prove that the real evil that men do is not fodder for cinematic spectacle and cinematic entertainment.

There's no doubt that Kiarostami is giving us a lesson in social politics, but the education lies in the mosaic pieced together from conversations and situations.

Even throwing in a spunky fight between female sidekicks (Gabrielle Union and Kelly Hu) isn't enough to float this film over clumsy dialogue and the feeling we've seen it before.

While the characters lack the quirks and affectations that have enlivened the impulsive figures from past Dogme films, the passion of the players and Bier's sensitive direction give these utterly normal figures a vivid aliveness, along with dignity and everyday beauty.

Another harrowingly cynical dirty-cop movie in the recent tradition of "Training Day" and "Narc." Yet it's so much more complex, engrossing and satisfying than those films that the comparison is not entirely fair.

To call the haphazard string of gags a story is to give it far too much credit, but it is funny in a blunt, profane frat boy way, thanks to the bulldozing energy of Ferrell, the smarmy manipulations of Vaughn and the anything-for-a-laugh excess of Phillips.