Drowns promising ideas in a sea of missed details and unconvincing motivations.

It's eye-filling, well-cast, often very funny and executed with great imagination and flair.

Morrow and Linney are gifted, extremely likable actors, and the movie has some ingratiating moments and a seductive soundtrack. But there's a by-the-numbers inevitability to every scene, and it never clicks into place to be anything special.

Shallow Hal begs for the Farrellys to unleash their arsenal of offensiveness, but they want to be liked so much they appear afraid to offend. The result is safe, well-meaning and dull.

You've already seen this movie, right? Just a few months ago. It was called "The Score."

It's more thrill ride than movie and Wong plays it that way: no sentiment, no complications and no pesky story to get in the way of an arsenal of flashy special effects.

Tautou seems tired, mean-spirited and utterly devoid of that Audrey Hepburn-like charm that made her the international movie find of 2001.

Not quite up to the exalted level of the two predecessors ("Toy Story" and "Toy Story 2"), be assured it's still the most eye-popping and thoroughly entertaining animated film to come down the pike so far this year.

The movie is never mechanical or emotionally contrived, and at its heart is a guileless, enchanting performance by Tautou.

Unfortunately can't transcend its theatrical roots and the actors, good as they are, seem like they're grandstanding.

The movie has a suspenseful moment or two, and it's never hard to watch, but it's ultimately one more totally forgettable Hollywood thriller.

Once you get the joke and grasp the aesthetic they're after, it's fun, and it almost works on the steam of its clever plot mechanics.

The movie itself is not completely successful, but it's consistently both engrossing and entertaining, and -- once again -- Spacey's performance creates a spell that lingers long after the lights come back on.

It is a foul-mouthed British underworld comedy so they may be hoping it will attract the hip audience of films like "Snatch" and "Lock, Stock and Two Smoking Barrels."

Though the pop idol recently said that movies are his ultimate goal, the best thing about On the Line is its music.

Fumbling characters find that survival is not a matter of economics alone, it's also a matter of hope.

The real bottom line here is that the character just doesn't make much sense.

Wenham and Porter make the film better than it should be.

First-time director Steve Beck hurls a dozen ghosts and probably a million dollars' worth of prosthetic makeup at us for a full 90 minutes, but it's old hat and not a bit scary.

Its only constant is that it's strangely eloquent and quite original.

Chereau's film is disjointed and abrupt and it rages when is should be deft. We're given too little too late and, despite the lessons that lie within the affair, the lines between enlightenment and nihilism blur.

The script is full of holes and the premise is not especially credible.

Director Marcelo Pineyro imbues the film with mood and style and yet the violent climax holds little thrall as a lack of character development makes it had to care about the robbers' fate.

It's by far the most violent, most clinical and most sumptuously atmospheric.

Like Lurie's previous two films, it's also simplistic and somewhat muddled.

What emerges is a funny and sometimes aching movie that treads familiar dysfunctional family turf but still manages to eke out an emotionally toned balance.

I'd like to think it's all a joke, that far from a dream this is actually Linklater's idea of a nightmare.

There's some excellent biological information in this film for preteens and teens -- if they can stop giggling long enough to hear it.