Doesn't make the movie worth watching -- even if you're monstrously bored.

Ultimately, the movie doesn't make it, but there's enough going on to make it more arf than barf.

Charming and inspiring.

There's a lot here to feed crime-fiction enthusiasts.

When the cast starts wondering where the roadkill is, someone says, "Follow the smell." Good tip: That's how you'll know where Wax is playing.

Dramatically, even a persuasive supporting cast gets Heaven only so far.

The improvised dialogue has a no-holds-barred quality that can hit or miss. But when it hits, it can be hysterical.

Flaws are outweighed by Crash's intricate construction and intelligent.

Though the journey ends on some fun notes after a sagging middle, Galaxy never fully breaks out.

At least this movie seems more aware of its trashiness than "National Treasure" was. It's therefore freer to have some off-the-cuff fun the way Steven Seagal's more tolerable vehicles once did.

With major stars, a name director and grown-up subject matter, this middling drama is less a movie to recommend with vigor than to covet on general principles.

The chuckles here come from the leads' interplay, crying on each other's shoulders and cheering each other up.

The film's most climactic moments involve the chilling audiotapes of avaricious Enron traders as they toy with California's energy crisis, wringing millions in profits from the misfortune of an entire state.

But Game really isn't a performer's movie. And the climactic contest (in which the Americans amazingly eked out a 1-0 win against England, considered by many to be the world's finest team at the time) is only serviceably staged.

In this Amityville, the performances are bad, the special effects ho-hum, and it's not even particularly scary.

The movie tries to be both comical and touching, as befitting the coming-of-age genre. But it feels forced, derivative and sometimes sappily sentimental.

The film clocks in at under two hours, but the last 20 minutes feel like 40.

By contrast, other Hornby screen adaptations are "About a Boy" and "High Fidelity"- superb comedies both and, in Fidelity's case, a treatise on male obsession with far more depth and even more laughs.

Hustle's approach to a simple good-vs.-evil plot is eccentrically exuberant.

Occasionally very funny, the picture tends to coast on its cosmetics. A first-rate script might have made it a twisted masterpiece.

The plot progression can be guessed early on, but the film is more about humor and heart than a clever story.

A succession of tired race jokes made worse by the bad comedic timing of the bland, under-talented Ashton Kutcher.

But even by the dull standards of movies so far this year, it seems mighty piffling.

Sporadically amusing but sometimes slogging.

Parents and kids should be heartened to see a G-rated movie that is not dumbed-down or saccharine-sweet. Rather, it's subtly inspiring.

Watts has proven herself a Lady of the Rings, but twice is enough. No burning need for a trilogy.

Smart, satisfying and compact but so modest in scale that only true-blue fans will sense - immediately - that it's Woody Allen's best outing in many years.

Hostage is really about sleek Bruce - buff, bald and clean-shaven - as he goes to town on two sets of assailants.