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

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

A dark comical masterpiece that single-handedly announces the collapse of the American family infrastructure as it exists on the brink of Y2K.

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

Ranks with the best of the bunch, given its spooky storyline that fuses religion with down-to-earth characters.

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

"Speed" with a thermometer, only a whole lot worse.

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

There were only two other people in the theater where I saw it, and they left within the first 10 minutes. I should have followed them out.

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

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

One of the worst movies released this year.

This testosterone-fest even features a battle inside a strip bar replete with topless women. Talk about your guilty pleasures.

One of the funniest films of the year... enough laugh-out-loud moments.

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

An impossible, yet funny scenario.

Though Twin Falls Idaho fascinatingly uncovers the complexities of conjoined twins, it is more about any sibling relationship where one feels simultaneously burdened and uplifted by the other.

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

The what-you-don't-see element makes this an excellent film for people with overactive imaginations, and if that's you, it will scare the living crap out of you.

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

It's super!

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.

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.

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.

Manages to present rave youth's on-the-go attitude as well as "Swingers" exposed its hipster culture.

The Wachowski Brothers have created some of the most unrivaled and imaginative sci-fi in years.

Observations on the modern office space are dead-on, and I dare you not to laugh out loud at a few of the sophomoric jokes!

This just may be the greatest war movie ever made.

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.

The most romantic film of the year.

The scene-stealer here is Bill Murray, who, after 25 years of near-hits, finds his most fully realized character yet.

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

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.

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

What makes up for the, at times, slow-moving theatrics is the physical beauty of Pleasantville.

Spectacular, wrenching masterpiece that unflinchingly documents the random horror, the grisly spectacle and the ugliness of war.

An exhilarating, fascinating story about the amazing and horrifying depth we are sinking toward as we strain to raise the entertainment bar another notch.

Nicholson is near-perfect as he slowly allows callous cruelty to give way to vulnerability in one of the most original, idiosynchratic roles of the year.

A heart-tugging potboiler that is at once poetic, tragic and cold as steel.

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.

As lensed brillantly by 26-year-old Anderson, the movie is at once tasteful and raunchy.

Blessed substance marries beautiful style in a '90s film noir.

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

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.

Funny, profane and surprisingly painful at times.

Wes Craven continues to explore (and blur) the lines between reelity and reality with his latest, and perhaps best, cinematic slice of horror.

Any minor annoyances are eclipsed by great performances from the entire cast.

Thornton has written himself the role of a lifetime, yet he plays Karl with neither condescension nor saintliness.

A deeply affecting allegory that explores the symbiotic relationship between genius and madness.

The power of the Fiennes/Scott Thomas affair burns through the clutter (imagine "Casablanca" meets "Map of the Human Heart") making The English Patient a theatrical must-see.

Hilarious.

A masterful mix of wit and humor, sympathy and sadness.

Irresistibly bleak appeal.