A respectable and at times an exciting film that should appeal to males of all ages, history buffs and -- yes, it's inevitable -- patriots.

Nothing un-beguiles a fairy tale more than forced whimsy and labored magic, which is precisely what plagues Ella Enchanted.

Mild in both humor and impact, this well-cast comedy should provide welcome diversion during the holidays for audiences looking for a somewhat lighter experience than the crucifixion of Christ or the massacre at the Alamo.

The cast acquits itself well, with the Rock evincing a quiet balance between humor and brawn.

Kim Ki-duk keeps dialogue to a minimum and actions simple in what is virtually a two-character piece. Humor arrives organically, often resulting in hearty laughs.

An unremarkable romantic comedy that gives short shrift to both romance and comedy.

Tries to be too many things, none very convincingly: plea for tolerance, docu-style character study, old-fashioned weepie.

Standard-issue superhero movie -- except that writer-director Guillermo del Toro, taking his cue from "Hellboy" comic book creator Mike Mignola, brings a wicked sense of humor to this particular monster mash.

This amiable, Western-themed animated effort from the Walt Disney Co. is a clear attempt to return to the more lighthearted cartoon style that was so prevalent before its onslaught of stately musical epics.

While its two credible leads are certainly up to the challenge, there's a relentless claustrophobia that prevents the film from taking on a fully dimensional life of its own.

A complex and often compelling melodrama, at times almost verging on soap opera.

The film is nearly unendurable.

A wobbly comedy-drama.

Alas, this is just film ugly.

By the time they're done with all the tinkering, "Scooby-Doo" ends up bearing as much a resemblance to Hanna-Barbera as the recent "Cat in the Hat" did to Dr. Seuss.

Where the best Coen brothers comedy is a matter of finely tuned tone, diction, attitude and visual rhythms, everything in The Ladykillers feels out of kilter. With Tom Hanks delivering -- arguably -- one of the most perplexing performances of his career.

Smith stumbles setting up dramatic confrontations and strains credibility a time or two with implausible moments.

Expertly combining the personal and the epic, Jordan has crafted an excellent historical saga that doesn't collapse under the weight of too much history.

Doillon never lets his characters slide into cliche. They act and react from a wealth of contradictory impulses and long-standing prejudices in this masterful tale of frustrated desire.

It is a beautifully crafted film with a star-studded cast, directed with a lightness of touch.

Clearly, much care and intelligence have been lavished on discouraging, routine material.

When there's a whole mess of zombie killing to be done, who cares about reflective writing or that time-wasting element of suspense?

Not only (Kaufman's) most accessible and romantic screenplay, it's his most complete. The third act works like a charm and pulls all his themes, characters and conflicts together beautifully.

A playfully quirky and, ultimately, unexpectedly affecting portrait of a 17-year-old slacker.

Unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away.

Ultimately unsatisfying.

A sensitive and well-observed drama that, while not breaking new ground, marks its director-screenwriter as someone to watch.

The movie telegraphs its intentions too early and relies too much on a single actor, Johnny Depp, to achieve its emotional force.