McConaughey and Parker get stranded with thanklessly predictable scenes, while Zooey Deschanel, Kathy Bates and Terry Bradshaw garner the film's few laughs.

It attempts to walk the fine line between despair and comedy, reality and imagination, and often succeeds. For audiences prepared to take the leap of faith and accept the unusual tone of the film, Game 6 should be a winner. Others may wonder what the fuss is about.

What might have made for an interesting short film lacks the weight to sustain its feature (albeit, brief) length, and even the presence of Mel Gibson, Jim Caviezel (in full bloody Christ mode) and Monica Bellucci is unlikely to attract any but the "Passion" obsessed.

A passable horror-thriller for the young crowd, assuming a movie can lure them away from PlayStations.

The film clearly wishes to explore the topic of children having children, but it only inspires a great desire to smack them both.

The film is an elegiac journey to a sweeter, more civilized place in the heart. Predictable and decidedly old-fashioned in its sensibility, the film is likely to win over audiences if not critics.

The humor emphasizes quantity over quality, but the batting average isn't too bad. And where else can you witness Leslie Nielsen do a nude scene?

A film with none of the heart that has characterized Weitz's best work and none of the freshness of his most successful.

An unconvincing psychosexual drama that tries to reconfigure the classic romantic triangle but winds up looking like a preposterous pretzel.

Call this one "Brother Act." Instead of Whoopi Goldberg's Reno lounge singer in "Sister Act," Preaching to the Choir has a hip-hop star hiding out from a gangsta record producer in his estranged brother-minister's Harlem church.

Ultimately more laughable than illuminating, at times approaching a level of camp commensurate with John Waters.

Golhardt's screenplay has enough quirkily charming moments to compensate for its plethora of stereotypical characters and cliched situations, and director Sherry Hormann provides a light enough touch to make the proceedings palatable, if not quite enjoyable.

With an "Animal House"-ish deportment, Art School likely will entertain a sophomoric audience and etch some winning college-kid figures, but art house audiences will be disappointed by its paint-by-numbers storytelling.

A blandly generic family film.

Edward Norton serves as lead actor and producer, but even his star power won't help this misfire reach a wide domestic audience.

Shades of "Like Water for Chocolate" and "Chocolat" -- but unlike the latter's tender Juliette Binoche-Johnny Depp romance, the ordained Rai-McDermott union fails to generate any convincing heat, and no amount of cardamom pods or lotus root is going to help.

While Giuliani Time offers a wealth of important information that many might have long forgotten, its impact is diluted by its heavily biased nature and lack of balance.

Audiences expecting a good time will instead be rewarded with wildly unsympathetic lead characters and uncomfortably long stretches without a laugh in sight.

The documentary is an act of political activism. Guggenheim and his politically conscious producers, Laurie David, Lawrence Bender and Scott Z. Burns, have no interest in either challenging Gore's viewpoint or giving opposing opinions equal time. The film is simply a conduit for Gore's message.

A slow-moving, never-igniting tale of calendar-crossed lovers that grows less convincing as it proceeds.

Attempts to achieve a Pedro Almodovar-level of humor without much success... Degenerating into witless slapstick.

The comedy is obvious and flat while the drama is stale. They did do one thing right, however: They attracted a stellar cast.

Boasts an uncommon stylization and some first-rate comic performances. But its provocative setup is undercut by its lengthy depiction of an all-too-familiar game of cat and mouse between the culprits and a dogged detective.

For hard-core David Mamet fans only...Edmond serves to remind you how artificial the dialogue and dramaturgy truly was in early Mamet.

Unfortunately, the film itself -- though it contains some superbly staged and highly lavish action sequences -- lacks the tautness of its heroine.

A darker, grittier creature that, while benefiting considerably from Dion Beebe's HD cinematography, is a frustratingly inert affair -- a long and talky excursion that fails to engage the viewer from the outset.

Feels anonymously generic and charmlessly mechanical.

While youngsters might enjoy the movie, more discerning tweens, teens and adults will not be as easily amused.