Professional wrestling might not be real, folks -- but, after watching this poignant and simple documentary, you might start questioning where the make-believe begins.

Inane, irresponsible, immature, poorly written.

Even more frightening are the miserable performances elicited from A-list talent, particularly Tim Robbins and Gary Sinise, both Oscar-nominated actors who perform with all the heartfelt conviction of Hawaiian-shirt-clad teenagers in a high school rendition of "South Pacific."

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

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 ultra-violent cinematic rendering which will appeal to those moviegoers who like their action dramas laced with nice touches of meta-physicality and left-of-center humor.

See Wonder Boys for the acting, particularly McDormand and Maguire, but use the goofy moments to get popcorn refills.

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 definitive representation of young American men at the start of the 21st century.

Wear your boots to this one, but because of the crap, not the snow.

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.

We're just over a month into 2000 and already there's a candidate for the year's worst picture.

First rule of a film trilogy: Part 3 sucks. See "The Godfather 3,"" Alien 3,"" Jaws 3." Even "Return of the Jedi" was just a rehash of "Star Wars" with muppets. Add Scream 3 to that trend.

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

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

Ah, young love. It can be quaint and heartwarming, but is largely inconsistent and painful -- kind of like this movie.

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

One-beat humor that is worsened by poor writing and editing.

Walt would be proud.

One of year's most thought-provoking and soul-stirring films.

What's fascinating about Morris's riveting portrait is the notion that monsters can be born not just out of overwhelming evil, but pure egotism and stupidity -- much more mundane, yet still dangerous.

Despite some redeemable comic dialog between Banderas and Harrelson, most of the movie is TKO.

A surreal and visually dazzling smorgasbord of pageantry, high camp, tragedy, spectacle, and gore.

It seems as if it was made by people who have never actually watched an episode of Star Trek. So all the old poke-fun-at-Trekkies cliches are here.

The talented Mr. Minghella is aping Alfred Hitchcock as effectively as Tom Ripley is doing Dickie Greenleaf.

Oliver Stone must learn that edgy photography does not substitute for a story with substance.

I didn't want it to end. I could have easily sat there for another two-and-a-half hours to find out what happens next.

This Andy has "Oscar" written all over it.

Scott Hicks adapts David Guterson's best-selling novel as if it was poetry.

Despite uneven pacing -- Girl, Interrupted deftly collapses then and now to create a very personal film filled with heart-tugs and surprisingly funny moments.

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.

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

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

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.

This is a warm, accessible story with delightful characters and a nice metaphor about following your own rules.

Entertaining and educational.

A dud.

So moving, so memorable, so magically produced, it's going to delight millions of movie fans and sweep the Oscars.

The kind of surprising giggles that make you wonder why you're laughing--- that's worth a few bucks.

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."

Moore and Fiennes both give impassioned, sexy performances.

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

Just not enough for me.

Allen's deadpan humor shines through every crevice of the film, keeping the pacing sharp, the dialogue snappy, and the situations feeling real.

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

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.

A devilishly fun blow-em-up that pits The Terminator vs. The Fallen One.

One of those rare sequels that's even better than the original.

It's clear that Schumacher has risen from the self-imposed dreck of "Batman & Robin" and has returned to Hollywood to tell a good story.

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

In between all this head-scratching nonsense, Sleepy Hollow can be fun, usually whenever the Headless Horseman shows up for swordplay that's better than anything in "The Phantom Menace."

Emerges as a thoughtful reflection on the many roles women must play throughout their lives.

The only fault I found was a lengthy build to the story's political climax (there's a subplot about slavery), after which the film quickly seams up its unravelings and ends.

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

Frequently hilarious, often profound, and occasionally stupid.

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

Sarandon and Portman have sizzling electricity that makes every funny, touching or sad moment between them seem even more fascinating than the last.

If all history lessons were this stylish, elementary school would have been a better place.

Would have been better suited as a television movie of the week.

Why do I keep having to see such awful movies?

A wildly silly goose chase.

Both leads perform admirably.

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

Overall, a solid piece of film that not only entertains but also educates.

Near-perfect editing, and cleverly poignant dialogue.

A miserable failure.

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

Lucky for you, it won't cost a thing to get up and walk out at any point after the credits.

Like a lot of anime, it's overlong and gets way too metaphysical at the end, but ultimately, this is a Princess worth worshipping.

Unfortunately, no awards committee is hip enough to praise this strange masterpiece.

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

All it really propagates is overly dramatic scenes plagiarized from last month's high school date rape seminar.

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.

Fans of the greatest working film director will be pleased.

Everything in it is old bat.

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.

Without any trustworthy characters for young Joe and no actual story development, the movie drags.

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

Frighteningly intelligent and visually stunning film.

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

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

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.

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

I'd wait for video unless your kid's just dying to see "Sesame Street" characters on the big screen.

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.

An empty void of tasteless action, formula plot, and dull dialogue set in a sadly under-utilized time period.

A poor excuse to put out a soundtrack of teen pop songs.

It's full of energy and drops an emotional bomb with its unexpected tale of reluctant heroes.

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

If a good laugh is needed on the next trip to the theater, please avoid this quack.

Words cannot do justice for this homage to Ed Wood.

Polley's doe-eyed innocence is in overdrive.

A mangy dog of a movie that should have been re-scripted by a better writer and directed by a better filmmaker.