Well-acted and intriguing exploration of dishonesty in its varied forms, leavened with a dry comic touch.

Rodriguez is such a visual stylist, and the violence is so cartoonish, that the flurry of whizzing bullets and growing pile of bodies is not as offensive as it might be.

Romantic comedies with two low-key leads can be asking for trouble, but one senses that the actors must have clicked on some fundamental level.

Sharp satire or feel-good foolishness? Silly sap won out.

The thrills, chills, frights, starts and occasional screams that a good horror film elicits from an audience are not there. Jeepers, the Creeper has little to recommend it.

Longer on action than comedy. But with Chan's affable charm and stunning leaps, kicks and jumps, it's a good-natured and amusing spectacle.

The most powerful of all recent wayward-youth sagas; indeed, it's tough to recall the last such drama that packed as much emotional clout.

Truth be told, the movie isn't among the worst sequels of this summer.

This is not only unsuitable for children, it's a colossal waste of time at any age.

Produced by HBO but too good not to play theaters, this soon-to-be minor classic is the best movie about society's untrendiest since "Ghost World" exactly two years ago.

Compared with other films Costner has directed, Range isn't a folly like "The Postman," nor is it quite as over-elaborated as "Dances With Wolves."

Sitting through the teen skateboard comedy Grind is, well, a grind.

Shaolin Soccer's infectious style has a way of lifting spirits. You don't have to be a fan of soccer or kung fu to enjoy it.

Part of the appeal is the underlying theme of the torch being passed between generations. Think how disappointing it would have been had Dana become an insurance actuary instead of a surfing filmmaker.

A tasty bonbon, initially appealing but not terribly satisfying.

By the time you've given up guessing whether S.W.A.T. wants to be a half-serious action pic or just affably jokey, its storytelling has turned so ludicrously melodramatic that it doesn't matter.

It all adds up to belly laughs aplenty and a rollicking good time.

It is an unsettling tale told simply and chillingly by director Peter Mullan, with stand-out performances, an evocative soundtrack and spare, haunting visuals.

An excellent adaptation of a wonderful work of fiction (The Age of Grief).

Spotty and uneven, Wedding shouldn't even have the embarrassed guffaws it has, and it probably wouldn't were it not for a robust cast.

An embarrassing debacle...the rare movie that never seems to take off, but also never seems to end. It tries hard to titillate, but ends up making audiences want to avert their eyes.

A quintessentially European, methodically paced and intelligent slice of life.

Amid the razzle-dazzle, Spy Kids 3-D: Game Over is sweetly inspiring.

Even though the special effects and action sequences are good, the monsters conjured up are rather humdrum.

Fortunately, a movie that needs some levity gets a comic boost from William H. Macy as a fictional racing handicapper from the golden days of radio. As if training a horse, Macy cues us to laugh every time he's on screen.

The situations are mighty broad, but exuberance counts for something in the movie with perhaps the year's most double-edged title.

Things will not be a big concession-stand movie because the floating heart is our introduction to a cottage industry we hope won't catch on. It is dirtier than pretty, yet Frears finds beauty in the telling.

Moore and Ford rise above the hackneyed story, infusing the proceedings with their own chemistry and appeal. If only the adults responsible for this film could learn how to deal.