The plot is Kate-Moss thin. Basically agreeable stuff, but not much more. And that's a shame.

Stylish but shallow story.

Despite a terribly conceived coda, Luke and his brothers have mostly succeeded, thanks in large part to sharp dialogue, a solid vintage soundtrack (Rick Nelson's "Garden Party" features prominently) and some great older actors -- Cassel is a particular standout -- from the heyday of American cinema.

Heartfelt but only intermittently interesting documentary.

No cliché is unturned, no "dog duty" pun avoided (get it -- dog doody), no creepy gay-panic subtext unplumbed in this family comedy.

A modest but well-done film with a little something for everyone.

Not even the high-caliber talents of Gene Hackman and Morgan Freeman can save this stagy, ridiculously over-baked psychological thriller.

The film delivers some genuine laughs — Diggs and Anderson are a hoot throughout — and real rapper Snoop Dogg all but steals the picture with his brief voice turn as Ronnie Rizzat.

The film's shortcomings notwithstanding, it's a must-see for Swinton fans, who can select a favorite among four different variations of their idol or simply adore them all.

This neo-noir pastiche is so preposterously overwrought that you keep figuring it must be some kind of joke, except that it's not funny.

Bland family comedy.

Noisy, derivative and thoroughly preposterous even by the standards of 21st-century action movies.

This amiable comedy has laughs, but can't compete with the warmth and charm of the original.

Not one of the team's best, but enough fun flowed from the combined pens of Barry (who wrote the play) and Stewart (who wrote the screenplay) to make it a pleasant comedy.

The unfortunate fact is that it's more than a little dull when it isn't preposterous.

Never adds up to much of anything.

Davidson elicits warm performances from inexperienced actors, but his efforts are in vain because the script provides a hackneyed treatment of its delicate subject.

This otherwise amiable family film plods whenever the action returns to dry land.

As soon as it pitches camp in generic romantic-comedy territory, it loses its intriguing edge and becomes one more predictable girl-meets-unsuitable-boy story.

There are no surprises for anyone who's seen the earlier version, and younger horror fans may find the modest body count and restrained gore unsatisfying.

Everything honest and hard-hitting in the book has been tastefully subverted, and the performances are scaled to meet the script's tiny demands.

The movie's selling point is Schneider acting goofy, chewing on worms, making goo-goo eyes at a she-goat and licking his private parts.

Apparently intended as a larky, character-driven adventure with dark underpinnings, this attenuated road movie was originally envisioned as a vehicle for relative unknowns, and might have worked better that way.

Overall it's an enjoyable cruise down the Garden State Parkway, and Affleck and Castro are charming companions.

Character and plot are the main event, and the film's got both in spades.

QUICKSILVER isn't a movie. It's actually a series of rock videos occasionally interrupted by a slight dalliance with story progression. The premise is wholly fabricated, the style is pure MTV, and the characters are all pressed from Hollywood cliche cutters.

How much you enjoy the film will depend entirely on how much you enjoy the spectacle of Williams spewing forth streams of nonsensical gibberish in an attempt to impersonate a German record producer, and Crystal pitching snit fits.

Members of what used to be referred to euphemistically as the "raincoat crowd," will probably enjoy Winterbottom's experiment more than most.