As a whole, The Eyes of Tammy Faye funnily and lively serves to show that sometimes the best movie characters are real ones and sometimes the best Christians are ones who look like crack-whores.

A thoroughly good war picture that is well worth seeing on the big screen in a cinema equipped with a first-rate sound system for the full sonic effect.

Damon benefits greatly from a director like Gus Van Sant ("My Own Private Idaho") who understands quiet, funny moments, intricate relationships and beautiful young actors.

If you're looking for Julia Roberts (circa "Pretty Woman") playing, well, herself, and Hugh Grant (circa "Four Weddings and A Funeral") playing, well, himself, then you're in luck.

Has world-class talent behind it, and it shows.

Watching Wright portray a black man who actually fights alongside the very men who wish to keep him enslaved proves to be an interesting philosophical dichotomy.

Both leads perform admirably.

Greenwood gives a nuanced performance that may be the film's best work, but at times his surface dissimilarities to JFK are jarring.

It is ultimately the film's reliance on this thumping action assault that keeps it from true summer-movie greatness.

Many may find the ultimate drive behind the main characters (especially Nolte's) to be a misguided, feeble and disappointing payoff at best.

It's a mind-blowing game, and all that nonsense about this being an erotic thriller was merely part of Kubrick's game.

Soderbergh, like Tarantino, has a knack for making every shady character onscreen fascinating.

It’s Del Toro who really gets to strut his stuff with a subtle, ambiguous, and riveting performance. In a field of top-notch actors, he’s the one whom you remember days later.

An enormously satisfying corndog of a movie.

Fairly enjoyable as an old-fashioned horror yarn -- or, if that doesn't work for you, as a black comedy about an obsessive collector.

A bona fide, no-doubt-about-it love story disguised as a sports movie.

A perfect date movie for boys and girls, boys and boys, and boys just pretending to like boys.

It's essentially a play-by-play of events that's so cheaply made it reeks of made-for-TV status.

Luckily, Penn's attentive directing and Nicholson's layered acting render The Pledge's occasionally questionable story permutations secondary to enjoying this emotionally powerful film of rare and grave subtlety.

As brain candy goes, Isn't She Great is just that and a little bit more.

Zahn, however, is definitely the star of the film, with his quirky portrayal of Wayne Wayne Wayne Jr. getting all of the laughs, and none of the credit.

The perfect example, of how the newest visual effects movies have the capacity to overwhelm everything--from actors to plotlines--except in the end, maybe, their audiences.

Weaver herself inhabits her character with confidence and passion, although she's inconsistent in spots.

Bring two boxes of tissue and a girlfriend to lean on for this blowout tearjerker.

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

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

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.

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

Chilling and technically proficient and, also, fairly hollow.

An utterly competent, systematically entertaining summer movie.

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

While slight and fairly unassuming considering its subject, the cast is uniformly fine.

In the end, the performances and the basic strength of the premise make Shadow of the Vampire a relatively diverting ninety minutes. But there is the inescapable feeling that it is a shadow of the great film it might have been.

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

Generally engaging.

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.

Worth watching.

Pretty hysterical.

A disposable flick.

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

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.

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

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

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.

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.

An impossible, yet funny scenario.

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

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

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

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.

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

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

Solidly entertaining if not remarkably innovative.

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

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

An uninspired, standard-issue mimeo whose only distinguishing feature is a reversal in its casting.

The two leads are what sell it.

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.

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

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

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."

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

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

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

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.

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."

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.

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

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

More of a moody performance piece than a film.

Ryan gives her standard, likeable performance.

A wildly silly goose chase.

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

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.

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.

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

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

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

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.

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

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.

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

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

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

There are lots of elements that make no sense whatever.

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

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.

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

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

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.

Dumb, dumb, dumb.

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

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

Follows the current trend of once-popular cartoons turned into mediocre live-action incarnations.

If you give it half a chance, it will entertain you.

Everything in it is old bat.