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.