Cross an episode of "Friends" with an issue-of-the-week movie about gay parenthood and you have this glossy vanity project.

This picture is just shapeless and shrill. It's disposable, forgettable and aimed at an audience that doesn't care.

Taut psychological thriller.

Sweet-natured and as inconsequential as can be, shored up by smooth, low-key ensemble performances.

Isn't nearly as bad as it might have been.

Shattering in its own quiet way.

Both enjoyably lighthearted and proof that even the most stridently purist approach to filmmaking can produce a cliched romantic comedy.

Maguire and Douglas are extraordinary (though Douglas feels a little old for his role, which seems to have been written for a man in his early 40s); even Downey Jr. delivers a sharp, understated performance.

The plot's preposterous and Affleck is way too callow for a role that would have fit Robert Mitchum like a second-hand suit.

A gentle, offbeat drama that hails the arrival of a new talent in writer-director Eric Mendelsohn, and bids a poignant farewell to a uniquely gifted actress, the late Madeline Kahn.

This handsomely photographed, briskly directed sci-fi fright picture is enjoyable enough on its own limited terms.

Equal parts soap drama and ham-fisted morality tale.

This is essentially a glib soap opera whose main characters are two-dimensional cliches used as clotheslines on which to hang sitcom-level jokes.

A fine, straightforward tribute to a sports giant who faced blatant prejudice and paved away for the likes Jackie Robinson, Hank Aaron and other minorities who dared make a place for themselves as heroes of America's greatest pastime.

Goofy and surprisingly slow-moving.

This is much more than a typically one-dimensional message-movie -- it's obviously the work of a master filmmaker .

First-time filmmaker Ben Younger makes not a single false move when delineating the merciless, high-testosterone world of boiler-room brokerages.

Without question the breeziest viewing experience now available at a multiplex near you.

A creepily unpleasant study of race and class.

Mildly amusing and as obvious as it is good-natured.

You come away from the film wishing her the best, but fearing the worst.

Boyle's movie jettisons much of the telling detail; it has the shambling rhythm of a shaggy dog story and so simplifies the characters' ethical dilemmas that it's hard to care what they do.

The big trouble here is that there seem to be pieces of three different films rubbing up against each other without ever fitting together.

So consistently awful, it's almost entertaining.

An unintentional parody of the kind of overwrought melodrama Pedro Almodovar once reworked to far better effect.

It's got turns, it's got an attractive cast that gets shish-kabobed with ruthless regularity. It's just tired.

A preposterous wilderness adventure (the kind that makes kids think sneaking into the zoo's bear pit is a cool idea) laid over a touchy-feelie story about good parenting.

The film's potshots are perfectly aimed.