Williams isn't really playing Adams: He's once again playing himself, and the act is getting tired.

Joe himself is an amazing creation, less personable, to be sure, than the original lovelorn King Kong, but a far more fully realized character than any of the flesh and blood humans by whom he's surrounded.

Predictable but sometimes moving.

In a film about the ruthless corporate destruction of small businesses, it's hard not to flinch at the prominent placement accorded IBM, Starbucks and AOL logos.

Features a first-rate voice cast and state-of-the-art animation that's nothing short of miraculous.

Boorman's original script is razor sharp and very funny, and Gleeson's portrayal is nothing short of brilliant

Their downward spiral is like a slow-motion highway pileup: You might think you don't want to watch, but you can't tear your eyes away.

This delightful, fast-paced and entirely fictional imagining of Shakespeare's life during the writing of "Romeo and Juliet" brims with witticisms predicated on the determination to have a rollicking good time exploring the link between libido and creativity.

This film is the product of artists working at the peak of their powers.

It's an interesting story, more accessible to non-Trekkers than previous entries.

The cloying odor of therapy hangs over this preachy holiday fable about a boy whose neglectful dad dies and comes back as a snowman.

Actress Jane Horrocks is so good in this drama that you'll hardly notice -- or care -- that the rest of the film isn't quite up to snuff.

Van Sant's film feels as dated as Hitchcock's, and Hitchcock's has the better excuse.

The saucy repartee will amuse adults, while the climactic showdowns -- yes, there are more than one -- are gripping entertainment for the whole family.

In a world filled with crude movie sitcoms, Berg's bitter, worst-possible-case scenario really does stand alone.

The film boasts slick production values and a charmingly modest turn from the charismatic Barrymore, but it's too trifling and uneven to be a good date movie.

Destined to be a crowd-pleaser though it may be, this collection of Irish quirks and "charm" tied together by a slender plot also leans heavily in the direction of predigested commercial claptrap.

Filled with moments of real poignancy and gentle epiphanies, the film is also marked by strong Christian undercurrents, but, like everything else in Salles's film, they're handled with extraordinary delicacy and never feel exclusionary.

Self-indulgent wallow in privileged malaise.

Intermittently snappy and featuring slicker animation than its TV incarnation, this popular children's cartoon may satisfy its youngest fans, but it'll be a big snoozefest for the rest of the family.

Tony Scott's thriller is flashy, but it's not dead stupid and it's never dull.

It doesn't pay to look too closely at this sumptuous fantasy, but if you're in the right mood to let it wash over you it's very warm and fizzy indeed.

The less you demand of this bloody, by-the-numbers sequel, the more you'll enjoy it.

The conspicuous lack of emotional resonance makes this film "Queen Margot's" poor cold English cousin.

Zwick frequently sacrifices dramatic urgency in the name of sobriety.

It's a shimmering, thorny, and consummately self-aware valentine to a paradise, however illusory, lost.

No one does deranged quite like Kathy Bates (the film's running gag involving Bates and the delicacies of Cajun cuisine is hilarious).

Witty and beautifully textured.