Contributions of the accomplished cast notwithstanding, this period drama takes a few too many spins around the downward spiral, making it hard to believe as well as unpleasant.

Augurs well for dazzling visual work but struggles mightily on the storytelling front.

This is the kind of film that will leave many audience members groaning with laughter -- and others simply groaning. It's skit/situation comedy that exploits stereotypes with a vengeance and knows no shame in borrowing from much better movies ranging from "Some Like It Hot" to "Tootsie."

Moore stays "on message" here from first shot to last. There is no debate, no analysis of facts or search for historical context. Moore simply wants to blame one man and his family for the situation in Iraq the United States now finds itself in…So the real question is not how good a film is Fahrenheit 9/11 -- it is undoubtedly Moore's weakest -- but will a film help to get a president fired?

A less than satisfying cinematic experience.

Has the feel of a home movie of greater interest to its participants than to an audience.

Swing does have the advantage of boasting a fair amount of genuine onscreen talent.

It uses numerous hoary techniques -- including tabloid-television-style editing and ominous background music -- that tend to detract from the seriousness of the issues being addressed. Morgan Freeman delivers the portentous narration.

This too-sentimental drama does feature a sterling performance by Giovanna Mezzogiorno as a love-struck housewife dissatisfied with her lot, thus providing the only watchable element of an otherwise disappointing movie.

One of those infuriating comedies that practically nudges you in the ribs while you're watching to remind you how cute and funny it is.

The film should please his (Sokurov's) fans even while proving a frustrating, tedious experience for most art house audiences.

The finish, too, is enigmatic, but in the hands of Hodges, with his masterful touch in conveying how deep run the rivers of regret, I'll Sleep When I'm Dead may take its place with "Get Carter" as a classic British gangster film.

In a summer of remakes, sequels and movies swollen with effects, The Terminal stands out as a strikingly original comedy.

Think of it as "The Matrix" for the quantum physics set.

In outline, the story is pretty funny, and the film's outlandish takes on sports-movie conventions deliver some laughs. But Thurber chooses the low road to those laughs so often that he undermines his own satirical design. His actors certainly deliver amusing, spirited performances, but again, they get done in by relentless adolescent humor.

What could have served as a colorful episode in a more expansive film about the famed singer has instead become the premise of a mildly entertaining but overextended road movie that doesn't succeed on either dramatic or comedic terms.

Any resemblance between Jules Verne's marvelous science fiction novel or Mike Todd's enjoyable 1956 movie is pure happenstance. This is simply a Jackie Chan movie pitched to youngsters who enjoy slapstick fights and goofy caricatures.

Lacks the urgency and significance of a great docu but still offers a diverting entertainment.

The film will eventually be a must-own video item for theater buffs.

Unfortunately, Twohy has tried to turn the Riddick enterprise into a sprawling, Tolkien-powered epic, jamming the screen with too many historical parallels and a confusion of new characters.

Because the entire audience knows what's going on, the filmmakers hope to distract viewers from storytelling weaknesses with an urgent sense of style.

Unlike that widely appealing picture with the giant green ogre, this one's strictly for the kiddies.

A one-note, lightweight, condescending comedy about the rubes of Idaho.

Captures a complex and contradictory world figure. Imelda is by turns humorous, insightful and infuriating.

The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal.

The film is an example of social activism at its best; it's not only enlightening, but it's an engrossing story that a smart television audience should embrace.

The film will still prove a tonic to those holding left-of-center views.

A deeper, darker, visually arresting and more emotionally satisfying adaptation of the J.K. Rowling literary phenomenon, achieving the neat trick of remaining faithful to the spirit of the book while at the same time being true to its cinematic self.