In terms of cleverly hidden exposition, this ain't "The Sixth Sense."

Pretty hysterical.

Middlebrow art has its built-in pitfalls, not the least of them sentimentality and intellectual flabbiness -- both of which are in abundant supply in Bagger Vance.

There are lots of elements that make no sense whatever.

Better to wait for movies like Bedazzled on video and watch Fraser in the theatre when he goes back to playing with Gods and Monsters instead of the Devil.

Belongs somewhere in the low middle of Altman's output -- not up to "Cookie's Fortune," but way better than, say, "Beyond Therapy," which remains his worst film by some margin.

Kay doesn't seem to know the meaning of moderation.

By the end, we simply have no idea what he (Lee) feels or what the film is really about. And we are too worn out to care.

Never before have two such skilled actors been so monstrously squandered in a movie so replete with failed gags and pathetic gaffs.

Chilling and technically proficient and, also, fairly hollow.

Perfectly effective when judged on its own merits, but is that really enough anymore?

Generally engaging.

It more or less makes sense and it's not dull -- more than can be said for many similar attempts.

Worth watching.

What distinguishes The Watcher from all the films it consciously or unconsciously emulates is the intermittently witty, offbeat writing of debuting screenwriter David Elliot.

Solidly entertaining if not remarkably innovative.

A must-see movie, simply for its awe-inspiring production values, but you'll feel nothing but punished by Tarsem's ghoulish parade of images.

Pop junk, an airport paperback, literally, turned into a mid-budget devil thriller.

Better in the end to skip it, and make Mother go it alone.

The film becomes so much urgent nonsense, its killing spree neither cheaply thrilling nor even more cheaply cathartic. It's only gory.

A teen screamer with enough implants for the boys and enough bitchiness for the girls.

An utterly competent, systematically entertaining summer movie.

Offers, on a drop-by-drop basis, more semen than a Ron Jeremy flick.

For me, the Farrelly Brothers never rise beyond the late-night tittering of kids at summer camp.

Redeems itself with a bold and grungy action-adventure flavor.

Singleton's lack of influence makes Quentin Tarantino's "Pulp Fiction" look far funkier in comparison.

It's a comedic caper with a slap-your-head-in-kookiness that ends up making Allen, at this age, seem like an old man desperately still trying to ham it up at the dinner table.

The Big Kahuna -- for its superb performances -- wants to be too much, but is about too little, working better as a series of fine monologues than as a cohesive story, the film's makers trapped somewhere between potential and reality, deal unclosed.

Worthwhile performances (including cameos from Joan Cusack and Sally Field) and one-liners, but don't leave your home looking for Heart.

A disposable flick.

One major inappropriate casting decision (Kirsten Dunst, who's made a solid leap to young adulthood in "Dick" and "Drop Dead Gorgeous" is cast as 14-year-old Lux?) and an underdeveloped motive for the girls' self-demise left me unaffected.

The two leads are what sell it.

The B-movie is back, folks, but who knows how long the fun will last.

Has neither the charm, plot nor visual splendor of its predecessors.

With Gary Shandling appearing in just about every scene, only fans of his trademark whiny, disinterested delivery and sexist un-political correctness have a hope of enjoying his new film.

More of a moody performance piece than a film.

Ryan gives her standard, likeable performance.

It's a sad day when good ideas turn into bad movies.

The titular beach really is stunning. But the second hour is an incomprehensible mess that's too dark for Leo's Teen People fanbase and too convenient for the arthouse crowd.

(Ferguson is) so cheeky and effeminate, he becomes more of a caricature than an actual person.

I wasn't the only one crying in the theatre. Not by a long shot.

But there's so much more of the very, very British Topsy-Turvy that just seems so stuffy and inert.

Focuses on everything and nothing like a grown-up Disney phenom, making it a great family movie enjoyable for everyone.

Though Williams gives one of his better performances in recent years -- finding the right combination of humor and restraint for this role -- none of the human characters are fleshed out in any way.

I went into Magnolia like a kid running onto a beach with a pail and shovel ready to explore, only to find myself neck deep in quicksand three hours later, screaming for help.

All that suspense falls dead at its climax, which proves to be a bore. The absence of a surprise ending and the lackluster spooks make this one worth skipping. I'm going back to see "The Sixth Sense."

Tumbleweeds has a certain hopefulness about it. "Anywhere But Here," on the other hand, gives you nowhere to go.

James Bond hasn't been this boring since Timothy Dalton carried the license to kill.

This may be what life was like for Levinson back in the day, but it makes a boring movie for the rest of us.

Haunting character study filled with fascinating personalities, robust images, and eccentric behaviors that will please art-house fans.

A wildly silly goose chase.

The actors share much of the screen time but the viewer never quite gets the chance to relate to each one individually.

Banderas has taken a brilliant novel and made a small movie with lots of bright moments, and honestly, that's quite an accomplishment for his debut.

Oversimplifies the concept of unrequited love, and over-romanticizes the notion of everlasting love.

Willis and Pfeiffer do manage to keep you awake, but you're essentially watching your own marriage up there. And you don't need to pay a sitter to do that.

A snail-paced story in all of its glorious ... slowness.

It risks the believability factor for anyone who's ever been cheated on or lost a loved one.

It's dumb, but I laughed out loud a few times, chuckled a few more, and would gladly sit through it again before watching any film with Demi Moore.

Jones' pursuit of Judd follows the tried-but-true plotline of winding cat-and-mouse chases that lead to big climaxes.

A hyped-down, no frills VH1 "Behind the Music" story...that is no doubt closer to reality than the fodder in the pages of "Rolling Stone."

Little more than an amusing, predictable story we've seen done better a dozen times.

(L.L.. Cool J's) gritty drug lord is decent.

An impossible, yet funny scenario.

What is refreshing about this film is that most of the characters seem like real people.

Not only is it just a movie, it's just a ho-hum movie.

It's not nearly as much fun as the action-packed trailer makes it seem.

Dumb, dumb, dumb.

More frustrating, however, are the many side stories, which introduce potential conflicts but never fully form, as well as completely unnecessary voice-overs that come late in the movie and culminate in a final monologue, which tells the audience what to think, rather than allowing us to decide what it's all about for ourselves.

There's a great movie to be made with this story.