A gifted cast was bogged down by a treacly tale.

Borderline amazing and borderline dull at the same time.

What we get is a tweaked variation on the litany of men-disguised-as-women comedies: "Some Like It Hot" and "Tootsie," just for starters. Obviously, this sassy farce sounds recycled and certainly appears to be in the coming attraction. Yet it's also funnier than expected in ways you wouldn't expect.

The documentary's scathing attack on the war in Iraq and George W. Bush's presidency is informative, provocative, frightening, compelling, funny, manipulative and, most of all, entertaining.

Coach Torn adds to a palpably violent undertone by heaving wrenches at their heads and crotches, making The Three Stooges' poking and slapping look downright tame.

If moviegoers suspend their disbelief -- easy enough thanks to the diverse and talented cast, as well as Spielberg's capable direction -- they're bound to enjoy this cinematic fantasy.

Just going through the motions here (and mild ones at that), both Chan and the movie should have stayed at home.

Has a riddick-ulous sci-fi plot, overblown and numbing video game-style special effects and a going-through-the-motions lead performance by Vin Diesel.

You feel some of the strain in this immaculately shot, designed and costumed farce, but it's fast and the cast is lively, even though a lost-looking Broderick rarely gets to shoot his patented bewildered look.

Not even Bill Murray could save Garfield. Perhaps the comedian -- so pitch-perfect as the sardonic actor in "Lost in Translation" -- got too deeply into character.

There isn't much Napoleonic grandeur in this Idaho-set high school comedy, which in spite of its most condescending instincts, does have its moments.

Who would think Harry Potter and the Prisoner of Azkaban could be an art film? Thanks to director Alfonso Cuaron, a dazzling storyteller with a keen eye for whimsical detail, the third film in the Potter franchise is a visual delight.

Packed with digs at Bush-Cheney that even Democrats could find heavy-handed, the movie's lumbering approach reminds us that, OK, Emmerich did "Independence Day" -- but also 1998's "Godzilla," which began sinking back into the sea in week two.

With its excessive sleaze and gross-out gags, Soul Plane overshoots effective spoofery. Mostly it's a foul, eye-rolling experience.

This movie is more wistful and winking, though it's obvious Mario is still working out emotional baggage with his tyrannically driven old man.

Not only is Saved! subversively funny, it is unexpectedly sweet.

Almost nothing about Raising Helen rings very true, other than the camera's crush on Kate Hudson.

Just as funny, sweet and engaging as the first film starring the big galoot.

Designed to be a date movie, Rules could have stronger male appeal than many comedies of its ilk.

Entertainingly epic eye candy.

The warden implores the prisoners to relinquish their weapons, and out of the cells come flying a zillion blades of all sizes. In a Mel Brooks movie, this bit would be funny. Here, it sums up the chilling situation in five seconds.

Too slight and pointless.

A sluggish, tedious film about lost souls living dead-end lives in a dead-end town. Their actions often defy rationality.

The wrap-up feels tacked-on and too good to be true, with emotions the story really hasn't earned.

As far as acting goes, neither Olsen is ready for Euripides' Medea, yet each projects well enough in their shared big scene.

The dashing Jackman plays his part well enough, but the script doesn't provide sufficient "Indiana Jones"-style bons mots to win us over.

Riveting and darkly comic Super Size Me is a whip-smart documentary.

Envy is in the unenviable position of saddling two of Hollywood's most talented comic actors with a script that doesn't do them justice.