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

Willis puts his action-hero stereotype on the back burner to deliver one of his most intriguing roles since "12 Monkeys."

A provocative success; wiping away the gore, Harron and Bale have found a mirror that forces us to look at ourselves and ask tough, disturbing questions -- which is ultimately what the best satire always does.

Entertaining and educational.

One of this year's most dazzling entertainments, not to mention one of the best comic-book movies ever made.

Only so much (pop)cornball tubthumping, a sweeping, occasionally stirring, always gorgeous bit of action-figure history.

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

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."

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.

Frequently hilarious, often profound, and occasionally stupid.

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

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

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

What makes this film so powerful is that its unanswered questions force the audience to examine hate and its consequences making American History X one lesson you can't miss.

I can’t imagine why anyone would plunge ahead with this project -- an adaptation of a classic no one reads, about characters no one could care about, directed by a filmmaker of little talent and less success.

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.

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

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

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

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

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

What more can we ask from a romantic comedy?

Walt would be proud.

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.

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

Gordon directs with a graceful precision and shorthand that makes the story seem simple, though it's anything but. Indeed, it's fascinatingly complex, juggling time periods and political, mystical, and psychological themes without ever losing touch with the core message: Love conquers all.

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

For now, there are enough big laughs and women in tight clothing to make this one of the best comedy sequels in recent memory and a worthy candidate for the smart, no-brainer comedy of the summer.

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

Its unique message about laughing in the face of evil clearly reveals that life is beautiful.

This Andy has "Oscar" written all over it.

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

Just not enough for me.

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

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

Not to be missed, one of the year's best, a whole lotta laughs, and 4-stars all rolled into one.

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.

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.

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

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.

Really a big fat zero. Hampton Fancher has done the unthinkable -- he's made a boring serial killer movie.

Does exactly what it should: Take the wee ones on a vicarious trip through an adventure both visually terrifying and emotionally thrilling at the same time.

Lacks just about everything on every level.

A cinematic lowpoint, even within its decidedly lowbrow genre, the teen gross-out sex romp.

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

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.

The two leads are what sell it.

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

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

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

Jokes, cheerleading and a love story...not a bad way to spend a lazy afternoon.

While movie reviewers like to throw around the line, "This is the worst movie I've ever seen," this movie may be the worst movie I've ever seen.

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

Although Romeo Must Die sets new standards for action films, the action drowns to a predictable and ridiculous plot.

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

Myers gives us all of the exaggerated physical schtick of Jim Carrey plus the added bonus of wickedly clever writing that refuses to let you escape.

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

It's some scary fun to watch.

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

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

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.

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

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.

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

The film so strongly fixates on strange, explicit sexual acts that it forgoes any emotional (i.e. romantic) aspects of sex.

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

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

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

Scrappy, sappy, and appealing.

Shallow characters the audience cares little about, an unbelievable situation rather than a potent plot, and, for those who don’t find men-in-pantyhose or poodle-poop jokes hilarious, not many funny lines.

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

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.

When worlds collide - people yawn.

The saddest part about 28 Days is it's more fun when it's drunk.

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

Lawrence goes the extreme distance to make you fall out of your chair laughing.

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.

Both leads perform admirably.

An utterly competent, systematically entertaining summer movie.

Formulaic and pretty darn plodding.

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

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

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

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

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

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.

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

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

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

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.

My biggest complaint: Following two nasty bloodbaths and an invasion of the creatures' lair, the final showdown seems anti-climactic.

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.

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

About as much pure fun as you'll have in a movie theater this summer.

This is as close to a total wipeout as can be imagined.

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

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.

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