Polished but oddly lifeless heist thriller.

Perhaps with a few more drafts, the filmmakers could have found a means of maintaining the quiet momentum displayed early on, but as it stands, Changeling is little more than a frustrating missed opportunity that's dressed to the nines, but a day late for the party.

But the movie is long and didactic, undermined by the faintly pious air of an educational slide show.

Too long and its tone is disconcertingly uneven, but Perry never betrays or condescends to his characters.

The cast, however, is great -- Crudup and Duchovny in particular share a fun chemistry that's just toilet-obsessed enough to be absolutely believable.

In the final analysis, the film doesn't amount to much, except to provide a good opportunity for the fine ensemble cast to show off their talents.

Title notwithstanding, there's nothing particularly funny about this political drama from the tireless Claude Chabrol.

While Kudlacek lets some of the elder statesmen ramble, their recollections are a vivid, firsthand window into a bygone era of American art.

An ambitious drama about gang warfare and the culture of violence, American Me is nothing if not earnest. Unfortunately, this doesn't mean it's a particularly successful film; for every bluntly powerful moment, there's another that's crude and obvious, sometimes excruciatingly so.

The payoff fizzles, but the buildup is intriguing until it topples under its own weight.

If only the wit weren't overwhelmed by lame jokes about body parts, functions and fluids.

Affleck's gloomy, one-note performance exacerbates the problem, but the stellar supporting cast helps compensate.

But for all the sound, fury and spectacle, the film feels vaguely hollow and unsatisfying.

Who knew the rock 'n' roll life could be so mild?

Fergus' thriller benefits from Pearce's high-strung performance and the stark New Mexico landscapes, but the story is familiar and the pacing much too measured for a slight tale of ineluctable fate.

It's earnest, well-intentioned and scrupulously even-handed, in the style of made-for-TV problem movies.

Were there more meat on the bones of this fable about hypocrisy and spiritual hollowness, Marsh's pacing might seem deliberate rather then merely slow.

Matheson's bitterly ironic ending -- which pivots on the nature of Neville's legend -- is gutted and turned into formulaic pap.

Of course, most of the male-female situations Terry finds herself in are played for laughs, and the film eventually sinks into an all too typical conclusion, but the observations regarding the nature of sexuality are interesting and well handled.

What more could a horror fan ask for than a spook-fest that feels pure in its intentions while taking full advantage of every opportunity to scare us silly?

Linney's character is written as a one-dimensional monster whose selfish cruelty is beyond redemption and, ultimately, belief.

Often rings painfully true, but would have benefited from judicious editing.

This thin premise is better suited to a half-hour sitcom than a feature film (in fact, there's an episode of Frasier with a very similar setup).

This candy-colored animated fable is an awkward mix of corny bee puns, clever sight gags, kid-friendly action, adult-centric workplace angst and Seinfeld's distinctive navel-gazing wit. And what's up with those four-legged bees?

Embry and first-time actress Sparks have charming chemistry, but Christopher's slight screenplay wears out its welcome long before the film - which runs a scant 80 minutes - is over.

Clearly a labor of love and a call to action, but it's undermined by the sheer volume of topics it tackles in addition to the main subject.

Not one to overstay its welcome, this suspenseful tale is an economic exercise in delivering the goods for those who are interested in a two-fisted Liam Neeson vehicle to soak up, bask in, and then leave behind as soon as it's over.

This unashamedly old-fashioned coming-of-age story is nothing new, but remains highly watchable nevertheless.